The work of Fyodor Ivanovich Tyutchev is a brilliant page of Russian poetry of the 19th century. Tyutchev wrote about human feelings, about nature, about Russia. In his poems, the lyrical hero appears as a man capable of strong feelings, tender, sincere. The lyrical hero in Tyutchev's poetry is a double of the poet himself, he often reflects his thoughts and feelings. This is especially evident in love lyrics.

Tyutchev's love is huge and all-encompassing, it captures the whole person. But it is tragic, because such love cannot exist in this world. Therefore, the lyrical hero is unhappy. In his life there is a lot of suffering, loss, grief and separation. Separations are inevitable, because love blinds a person, and when time passes, he realizes that the object of love is far from ideal.

In separation there is a high meaning:

No matter how you love, at least one day, at least a century,

Love is a dream, and a dream is a moment,

And early or late, or awakening,

And the man must finally wake up...

The contradictions of the lyrical hero prevent him from being happy. But even more often he himself invents suffering.

Like an unsolved mystery

Living charm breathes in it -

We watch with anxious trepidation

Into the quiet light of her eyes.

Is there an earthly charm in it,

Or heavenly grace?

The soul would like to pray to her,

And the heart is torn to adore ...

Lyrica F.I. Tyutcheva is mysterious and incomprehensible. His poems are melodic, their form is perfected. Poems about nature are especially striking: they are harmonious, perfect, time has no power over them.

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.

When the last hour of nature strikes,

The composition of the parts will be broken earthly:

Everything visible will again be covered by water,

And God's face will be depicted in them!

In poems about nature, we see a subtle perception of the beauty of the world, we feel smells, colors, we hear sounds. Tyutchev masterfully draws pictures of nature: he draws our attention to something special, bright, he knows how to bring natural phenomena closer to us, to convey heavenly harmony. In nature, he sees the struggle of opposites and shows us that harmony arises from this. The lyrical hero is responsive to everything that happens in the world around him. For him and for the author, nature is part of the Motherland.

The outstanding Russian lyric poet Fyodor Ivanovich Tyutchev was in all respects the opposite of his contemporary and almost the same age as Pushkin. If Pushkin received a very deep and fair definition of the sun of Russian poetry, then Tyutchev is a night poet. Although Pushkin published in his Sovremennik in the last year of his life a large selection of poems by the then unknown poet, who was in the diplomatic service in Germany, he was unlikely to like them very much. Although there were such masterpieces as Vision, Insomnia, How the ocean surrounds the globe, The Last Cataclysm, Cicero, What are you howling about, the night wind, Pushkin was alien, first of all, to the tradition on which Tyutchev relied: German idealism, to which Pushkin remained indifferent , and the poetic archaism of the 18th and early 19th centuries (primarily Derzhavin), with which Pushkin waged an irreconcilable literary struggle.

We get acquainted with Tyutchev's poetry in elementary school, these are poems about nature, landscape lyrics. But the main thing for Tyutchev is not the image, but the comprehension of nature, philosophical lyrics, and his second theme is the life of the human soul, the intensity of love feelings. The unity of his lyrics is given an emotional tone by a constant, vague anxiety, behind which stands a vague, but unchanging feeling of the approach of the universal end.

Along with emotionally neutral landscape sketches, Tyutchev's nature is catastrophic and its perception is tragic. Such are the poems Insomnia, Vision, The last cataclysm, As the ocean embraces the globe, What are you howling about, the night wind ... At night, the waking poet opens his inner prophetic vision, and behind the peace of daytime nature he sees the element of chaos, fraught with catastrophes and cataclysms. He listens to the universal silence of an abandoned, orphaned life (in general, the life of a person on earth for Tyutchev is a ghost, a dream) and mourns the approach of the universal last hour:

And our life is before us

Like a ghost, on the edge of the earth.

Oh, do not sing these terrible songs

About the ancient chaos, about the native!

The poet conjures the night wind, but continues like this:

How greedily the world of the night soul

Heeds the story of his beloved!

Such a duality is natural: after all, there are the same storms in the soul of a person, under them (that is, under human feelings) chaos stirs, the same native as in the world of the environment.

The life of the human soul repeats and reproduces the state of nature, the thought of the poems of the philosophical cycle: Cicero, As over hot ashes, My soul is the Elysium of shadows, Not what you think, nature! .., Human tears, Wave and thought, Two voices. In the life of a person and society, the same storms, night, sunset, rock dominates (this is a poem by Cicero with the famous formula: Blessed is he who visited this world in its fatal moments). Hence the acute feeling of the end of being (As over hot ashes), the recognition of hopelessness (Two voices). It is impossible to express all this, and even more so to be understood and heard by people, in this Tyutchev follows the widespread romantic idea of ​​the fundamental incomprehensibility of the poet's insights to the crowd.

Just as catastrophic and disastrous for a person is love (Oh, how deadly we love, Predestination, Last love). Where does Tyutchev get all these fatal passions? They are determined by the era of great socio-historical cataclysms in which the poet lived and worked. Let us note that Tyutchev's creative activity falls at the turn of the 2030s, when revolutionary activity both in Europe and in Russia began to decline and the Nikolaev reaction took hold, and at the end of the 40s, when a wave of bourgeois revolutions swept through Europe again.

Let's analyze the poem I Lutherans love worship, dated September 16, 1834. What attracted the Orthodox Christian Tyutchev to the faith of German Protestants, followers of Martin Luther, the founder of the European Reformation. He saw in the atmosphere of their worship the situation of the universal end, so akin to his soul: Gathered on the road, for the last time you will have faith. Therefore, her house is so empty and bare (and in the first stanza of these bare walls, this temple is empty). At the same time, in this poem, Tyutchev expressed the meaning of any religion with amazing power: it prepares a person, his soul for the last departure. After all, death from a religious point of view is good: the soul returns to its divine womb, from which it left at birth. The Christian must be ready for this at any moment. He goes to God's temple in order to prepare the soul for this.

But the hour has come, it has struck...

Pray to God

The last time you pray is now.

The poet seeks, first of all, to show the world of the human soul, to realize whether there is any meaning in existence. In Tyutchev's lyrics, there is often an opposition between the eternal and the instantaneous, the always resurgent nature and the short human life. The poet perceives Infinity, Eternity not as a philosophical, speculative concept, but as a reality. In this Eternity, human life is only a short flash.

This is paradoxical, but at the same time as the insignificance of individual being, Tyutchev also feels its colossality: I, the king of the earth, have grown to the earth, I walked along the heights of creation, like God ... Such a duality is generally characteristic of a poet. For him, every poetic concept has a wrong side: harmony, chaos, love, death, faith, unbelief. Man is always between heaven and earth, between day and night, on the threshold of dual existence. The soul is always a dweller of two worlds.

Perhaps this perception of a person on the verge of two worlds explains Tyutchev's predilection for the image of sleep, a dream, where a person is closer than ever to the border of two different lives. The dream in the perception of the poet is also ambiguous. On the one hand, this is a certain form of existence, close to chaos (a frequent image of Tyutchev). In one of the poems, Dream is the twin of Death. On the other hand, a dream can be both fertile, and magical, and childishly beautiful.

The duality of Tyutchev was clearly manifested in the poem Dream on the Sea. He's writing:

I, sleepy, was betrayed by every whim of the waves.

Two infinities were in me,

And they arbitrarily played with me.

And in the same poem:

On the heights of creation, like God, I walked,

And the world under me motionless shone.

All these images-symbols not only speak of the existence of a person on the border of sleep and reality, peace and storm, but also show the huge role that a person plays in the universe. A strange combination, so characteristic of Tyutchev: he is subject to the whim of the waves and at the same time strides along the heights of creation.

Tyutchev never tired of saying that man is part of nature, its inseparable particle. At the same time, especially in his early work, he noticed that a person has a need to get away from the crowd, to retire in himself:

Only know how to live in yourself

There is a whole world in your soul...

This motif sounds again in the poem My Soul Elysium of Shadows... The soul is alienated from living life, the crowd, it lives on its own memories. Although this happens, it is not at all good for the poet. On the contrary, he strives precisely for living life (especially in the early lyrics):

No, my passion for you

I can not hide, mother earth!

If the early lyrics of Tyutchev are characterized by the opposition of the universe and the individual (a huge rock and a tiny grain of sand), then later the poet descends to the sinful earth, often not limited to speculative reasoning, but tracing human fate. A peculiar life philosophy begins to become clear: the more difficult, more doomed a person lives, the more he loves the earth. Doom, torment, sometimes even death, coexist with an inescapable love for the world. The radiant world in all its splendor appears in him even in the most tragic love poem. All day she lay in oblivion ... A woman (beloved woman) lies on her deathbed, and life goes on outside the window.

Tyutchev is characterized by thoughts about death, about sorrows, about the joylessness of the human lot, about tears:

Human tears, oh human tears,

You pour early and late sometimes ...

All Tyutchev's poetry is permeated with the tragedy of a lonely existence, a split soul, disbelief, and often despair. But at the same time, the late Tyutchev more and more often sounds the motive of rebelliousness to fate, a thirst for struggle, outside of which life loses its justification:

Take courage, O friends, fight diligently,

Though the battle is unequal, the struggle is hopeless!

Yes, the struggle is hopeless, but we must fight!

This may be the only meaning of existence.

The contrast of Tyutchev's lyrics lies, on the one hand, in his intoxication with life, a sense of joy, the uniqueness of being, on the other hand, in the awareness of the transience of life, in perceiving it as something ghostly, a shadow from smoke (not even smoke, only shadows!). These contradictions constitute the life philosophy of the poet, two views on life merge into a single perception of reality.

Tyutchev always tried to determine the meaning of being. The older he became (in a poetic and human sense), the more often he associated with a person the image of a struggle, a desperate battle. At first, for Tyutchev, a person is only a part of a huge universe, a tiny chip on the waves of the ocean, a wanderer driven by unquenched longing. Later, the poet begins to be disturbed by the consciousness of the futility of life. Then, already in the late Tyutchev, there is confidence in the need for a man to fight fate. This battle is unequal, fatal, but it is inevitable, because, perhaps, only it justifies the life of a person, a tiny grain of the universe.

Fyodor Tyutchev is a poet and philosopher, therefore the basis of his poems is a reflection on the world, on the place of man in this world, on life and death. He represents nature in constant motion, majestically beautiful and solemnly tragic. A person against its background appears as a small, insignificant particle.

So, in the poem “Spring Thunderstorm”, the poet, it would seem, describes a picture familiar to any eye: thunder, thunderstorm, rain ... But in the last quatrain, Tyutchev suggests looking at this natural phenomenon from a different angle:

You say: windy Hebe,

Feeding Zeus' eagle

A thundering cup from the sky

Laughing, she spilled it on the ground.

These lines make you think about the significance of the spring thunderstorm on the scale of the universe.

Perhaps this is just a joke of the gods? But if the whole element is only a small part of something more majestic, then what place does a person occupy in this world?

Another example is the poem "Noon". It describes a hot summer afternoon. The serene, "lazy" state of "drowsiness" evokes sleep. But again, at the end of the poem, there is an indication of the place of man in this world:

And now the great Pan himself

In the cave the nymphs doze peacefully.

No one, not even the "great Pan", is able to resist the forces of nature.

Another poem - "The kite rose from the clearing ...". Here the lyrical hero admires the bird's natural ability to fly: "Mother nature gave him / Two powerful, two living wings." As a result, the lyrical hero opposes himself to the kite: “And here I am in sweat and dust. / I, the king of the earth, have grown to the earth!..” Despite the fact that the kite feeds on carrion, it can fly, and a person, having proclaimed himself “king of the earth”, cannot have such an ability.

Thus, we see that the world of nature in the perception of the lyrical hero of Tyutchev's poems appears majestic and incomprehensible. A person in this world is a grain of sand.

The writing

The outstanding Russian lyric poet Fyodor Ivanovich Tyutchev was in all respects the opposite of his contemporary and almost the same age as Pushkin. If Pushkin received a very deep and fair definition of the sun of Russian poetry, then Tyutchev is a night poet. Although Pushkin published in his Sovremennik in the last year of his life a large selection of poems by the then unknown poet, who was in the diplomatic service in Germany, he was unlikely to like them very much. Although there were such masterpieces as Vision, Insomnia, How the ocean surrounds the globe, The Last Cataclysm, Cicero, What are you howling about, the night wind, Pushkin was alien, first of all, to the tradition on which Tyutchev relied: German idealism, to which Pushkin remained indifferent , and the poetic archaism of the 18th and early 19th centuries (primarily Derzhavin), with which Pushkin waged an irreconcilable literary struggle.

We get acquainted with Tyutchev's poetry in elementary school, these are poems about nature, landscape lyrics. But the main thing for Tyutchev is not the image, but the comprehension of nature, philosophical lyrics, and his second theme is the life of the human soul, the intensity of love feelings. The unity of his lyrics is given an emotional tone by a constant, vague anxiety, behind which stands a vague, but unchanging feeling of the approach of the universal end.

Along with emotionally neutral landscape sketches, Tyutchev's nature is catastrophic and its perception is tragic. Such are the poems Insomnia, Vision, The last cataclysm, How the ocean embraces the globe, What are you howling about, the night wind ... At night, the waking poet opens his inner prophetic vision, and behind the peace of daytime nature he sees the element of chaos, fraught with catastrophes and cataclysms. He listens to the universal silence of an abandoned, orphaned life (in general, the life of a person on earth for Tyutchev is a ghost, a dream) and mourns the approach of the universal last hour:

And our life is before us

Like a ghost, on the edge of the earth.

Oh, do not sing these terrible songs

About the ancient chaos, about the native!

The poet conjures the night wind, but continues the poem like this:

How greedily the world of the night soul

Heeds the story of his beloved!

Such a duality is natural: after all, there are the same storms in the soul of a person, under them (that is, under human feelings) chaos stirs, the same native as in the world of the environment.

The life of the human soul repeats and reproduces the state of nature, the thought of the poems of the philosophical cycle: Cicero, As over hot ashes, My soul is the Elysium of shadows, Not what you think, nature! .., Human tears, Wave and thought, Two voices. In the life of a person and society, the same storms, night, sunset, rock dominates (this is a poem by Cicero with the famous formula: Blessed is he who visited this world in its fatal moments). Hence the acute feeling of the end of being (As over hot ashes), the recognition of hopelessness (Two voices). It is impossible to express all this, and even more so to be understood and heard by people, in this Tyutchev follows the widespread romantic idea of ​​the fundamental incomprehensibility of the poet's insights to the crowd.

Just as catastrophic and disastrous for a person is love (Oh, how deadly we love, Predestination, Last love). Where does Tyutchev get all these fatal passions? They are determined by the era of great socio-historical cataclysms in which the poet lived and worked. Let us note that Tyutchev's creative activity falls at the turn of the 2030s, when revolutionary activity both in Europe and in Russia began to decline and the Nikolaev reaction took hold, and at the end of the 40s, when a wave of bourgeois revolutions swept through Europe again.

Let's analyze the poem I Lutherans love worship, dated September 16, 1834. What attracted the Orthodox Christian Tyutchev to the faith of German Protestants, followers of Martin Luther, the founder of the European Reformation. He saw in the atmosphere of their worship the situation of the universal end, so akin to his soul: Gathered on the road, for the last time you will have faith. Therefore, her house is so empty and bare (and in the first stanza of these bare walls, this temple is empty). At the same time, in this poem, Tyutchev expressed the meaning of any religion with amazing power: it prepares a person, his soul for the last departure. After all, death from a religious point of view is good: the soul returns to its divine womb, from which it left at birth. The Christian must be ready for this at any moment. He goes to God's temple in order to prepare the soul for this.

But the time has come, it has struck ...

Pray to God

The last time you pray is now.

The poet seeks, first of all, to show the world of the human soul, to realize whether there is any meaning in existence. In Tyutchev's lyrics, there is often an opposition between the eternal and the instantaneous, the always resurgent nature and the short human life. The poet perceives Infinity, Eternity not as a philosophical, speculative concept, but as a reality. In this Eternity, human life is only a short flash.

This is paradoxical, but at the same time as the insignificance of individual being, Tyutchev also feels its colossality: I, the king of the earth, rooted to the earth, I walked along the heights of creation, like God ... Such a duality is generally characteristic of the poet. For him, every poetic concept has a wrong side: harmony, chaos, love, death, faith, unbelief. Man is always between heaven and earth, between day and night, on the threshold of dual existence. The soul is always a dweller of two worlds.

Perhaps this perception of a person on the verge of two worlds explains Tyutchev's predilection for the image of sleep, a dream, where a person is closer than ever to the border of two different lives. The dream in the perception of the poet is also ambiguous. On the one hand, this is a certain form of existence, close to chaos (a frequent image of Tyutchev). In one of the poems, Dream is the twin of Death. On the other hand, a dream can be both fertile, and magical, and childishly beautiful.

The duality of Tyutchev was clearly manifested in the poem Dream on the Sea. He's writing:

... I, sleepy, was betrayed by all the whims of the waves.

Two infinities were in me,

And they arbitrarily played with me.

And in the same poem:

On the heights of creation, like God, I walked,

And the world under me motionless shone.

All these images-symbols not only speak of the existence of a person on the border of sleep and reality, peace and storm, but also show the huge role that a person plays in the universe. A strange combination, so characteristic of Tyutchev: he is subject to the whim of the waves and at the same time strides along the heights of creation.

Tyutchev never tired of saying that man is part of nature, its inseparable particle. At the same time, especially in his early work, he noticed that a person has a need to get away from the crowd, to retire in himself:

Only know how to live in yourself

There is a whole world in your soul...

This motif sounds again in the poem My Soul Elysium of Shadows... The soul is alienated from living life, the crowd, it lives on its own memories. Although this happens, it is not at all good for the poet. On the contrary, he strives precisely for living life (especially in the early lyrics):

No, my passion for you

I can not hide, mother earth!

If the early lyrics of Tyutchev are characterized by the opposition of the universe and the individual (a huge rock and a tiny grain of sand), then later the poet descends to the sinful earth, often not limited to speculative reasoning, but tracing human fate. A peculiar life philosophy begins to become clear: the more difficult, more doomed a person lives, the more he loves the earth. Doom, torment, sometimes even death, coexist with an inescapable love for the world. The radiant world in all its splendor appears in him even in the most tragic love poem. All day she lay in oblivion ... A woman (beloved woman) lies on her deathbed, and life continues outside the window.

Tyutchev is characterized by thoughts about death, about sorrows, about the joylessness of the human lot, about tears:

Human tears, oh human tears,

You pour early and late sometimes ...

All Tyutchev's poetry is permeated with the tragedy of a lonely existence, a split soul, disbelief, and often despair. But at the same time, the late Tyutchev more and more often sounds the motive of rebelliousness to fate, a thirst for struggle, outside of which life loses its justification:

Take courage, O friends, fight diligently,

Though the battle is unequal, the struggle is hopeless!

Yes, the struggle is hopeless, but we must fight!

This may be the only meaning of existence.

The contrast of Tyutchev's lyrics lies, on the one hand, in his intoxication with life, a sense of joy, the uniqueness of being, on the other hand, in the awareness of the transience of life, in perceiving it as something ghostly, a shadow from smoke (not even smoke, only shadows!). These contradictions constitute the life philosophy of the poet, two views on life merge into a single perception of reality.

Tyutchev always tried to determine the meaning of being. The older he became (in a poetic and human sense), the more often he associated with a person the image of a struggle, a desperate battle. At first, for Tyutchev, a person is only a part of a huge universe, a tiny chip on the waves of the ocean, a wanderer driven by unquenched longing. Later, the poet begins to be disturbed by the consciousness of the futility of life. Then, already in the late Tyutchev, there is confidence in the need for a man to fight fate. This battle is unequal, fatal, but it is inevitable, because, perhaps, only it justifies the life of a person, a tiny grain of the universe.

The work of Fyodor Ivanovich Tyutchev is a brilliant page of Russian poetry of the 19th century. Tyutchev wrote about human feelings, about nature, about Russia. In his poems, the lyrical hero appears as a man capable of strong feelings, tender, sincere. The lyrical hero in Tyutchev's poetry is a double of the poet himself, he often reflects his thoughts and feelings. This is especially evident in love lyrics.

Tyutchev's love is huge and all-encompassing, it captures the whole person. But it is tragic, because such love cannot exist in this world. Therefore, the lyrical hero is unhappy. In his life there is a lot of suffering, loss, grief and separation. Separations are inevitable, because love blinds a person, and when time passes, he realizes that the object of love is far from ideal.

In separation there is a high meaning:

No matter how you love, at least one day, at least a century,

Love is a dream, and a dream is a moment,

And early or late, or awakening,

And the man must finally wake up...

The contradictions of the lyrical hero prevent him from being happy. But even more often he himself invents suffering.

Like an unsolved mystery

Living charm breathes in it -

We watch with anxious trepidation

Into the quiet light of her eyes.

Is there an earthly charm in it,

Or heavenly grace?

The soul would like to pray to her,

And the heart is torn to adore ...

Lyrica F.I. Tyutcheva is mysterious and incomprehensible. His poems are melodic, their form is perfected. Poems about nature are especially striking: they are harmonious, perfect, time has no power over them.

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.

When the last hour of nature strikes,

The composition of the parts will be broken earthly:

Everything visible will again be covered by water,

And God's face will be depicted in them!

In poems about nature, we see a subtle perception of the beauty of the world, we feel smells, colors, we hear sounds. Tyutchev masterfully draws pictures of nature: he draws our attention to something special, bright, he knows how to bring natural phenomena closer to us, to convey heavenly harmony. In nature, he sees the struggle of opposites and shows us that harmony arises from this. The lyrical hero is responsive to everything that happens in the world around him. For him and for the author, nature is part of the Motherland.