Analysis of the poem

1. The history of the creation of the work.

2. Characteristics of the work of the lyrical genre (type of lyrics, artistic method, genre).

3. Analysis of the content of the work (analysis of the plot, characterization of the lyrical hero, motives and tone).

4. Features of the composition of the work.

5. Analysis of the means of artistic expression and versification (presence of tropes and stylistic figures, rhythm, meter, rhyme, stanza).

6. The meaning of the poem for the entire work of the poet.

The poem "Day and Night" was written by F.I. Tyutchev in 1839. First published in the same year in the Sovremennik magazine. Then it was reprinted in Sovremennik in 1854 and 1868. L.N. Tolstoy in his collection of poems of the poet noted this work with the letters “T. G.K.!” (Tyutchev. Depth. Beauty).

We can attribute the poem to philosophical lyrics, its main theme is the traditional opposition of day and night for romanticism as images symbolizing the two polar states of the human soul. Style is romantic. Genre - lyrical fragment.

The poem opens with the image of a bright, joyful day:

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,
The souls of the sick are healed,
Friend of man and gods!

Calm, solemn intonations convey the feelings of the lyrical hero. The image of the day is created by numerous applications that are used here in a certain semantic gradation: “this brilliant cover”, “earthly revival”, “Healing of the souls of the sick”, “Friend of man and gods!”. The day is clarity, order, peace of mind. Man is in harmony with God and the Universe. The researchers noted that in the first part of the poem there is no movement, dynamics. There are no verbs here, only the passive participle "thrown over" is used, the day, thus, becomes passive, inactive for Tyutchev.

However, soon the day turns into night, and other feelings come to life in the soul of the lyrical hero - fear, helplessness. His “night abyss” opening up to his gaze gives rise to Chaos, which opposes Harmony in the lyrical world of Tyutchev. All hidden, secret night makes clear. A person remains alone with his own soul, with the whole Universe, he cannot escape from his own experiences. And here the hero is already opposed to the universe. In the same plan, we can consider here the symbolism of light and darkness. The mist of the night destroys the barriers between a person and the deepest movements of his soul, brings to life everything that was covered with the “brilliant cover” of the day. But what is hidden there, in the depths of the subconscious of the lyrical hero? The poet does not give a direct answer to this question:

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!

Here we already meet numerous verbs, a short passive participle and participle: “fades”, “has come”, “came”, “throws away”, “torn off”, “naked”. Tyutchev's night is stronger than day, it is active, it suppresses the hero. And here we come close to philosophical reflection about a person, about the dark and light sides of his soul. If a person adheres to the norms of goodness and reason, then Chaos will not be able to destroy him. If he is anarchic and self-willed, then Nature will turn her dark side to him.

The same motif of a person’s impotence before the elements of the Night is also heard by Tyutchev in the poem “The Holy Night Has Ascended into the Sky”:

And, like a vision, the outside world is gone...
And a man, like a homeless orphan,
It stands now, and weak and naked,
Face to face before the dark abyss.

He will leave for himself -
The mind is abolished, and the thought is orphaned -
In his soul, as in the abyss, he is immersed,
And there is no outside support, no limit ...

The composition of the work is based on the principle of antithesis. We can distinguish two parts. In the first part, the poet creates the image of the day, in the second part - the image of the night.

The poem is written in iambic four-foot, eight lines, rhyming - ring. The poet uses the following means of artistic expression: epithets (“over ... the nameless abyss”, “brilliant cover”, from the fatal world”), metaphor (“From the fatal world, the Fabric of the fertile cover, Tearing off, throws away”), inversion (“The cover is thrown over the golden-woven ”), assonance (“The veil is thrown over with gold-woven”), alliteration (“By the high will of the gods”). We find high vocabulary (“veil”, “blessed”) and archaisms (“spirits”, “earthly”, “this”, “darkness”).

The poem "Day and Night" is one of the best in the poet's work. It subtly and accurately conveys the attitude of Tyutchev, “the poet of night revelations, the poet of heavenly and spiritual abysses. He seems to be whispering with the shadows of the night, catching their vague life and conveying it without any symbols, without any romance, in quiet, quivering words... This is the contemplation of the world in its nocturnal spontaneity, in its chaotic divine truth... Human life is embraced by dreams, and a bright day is precisely a dream from which we awaken into life, into death.

Biography of F. I. Tyutchev
Fedor Ivanovich Tyutchev was born on November 23, 1803 in the family estate - Ovstug, Oryol province
Bryansk district. His father, Ivan Nikolaevich Tyutchev, was distinguished by unusual complacency, gentleness,
Rare purity of morals and enjoyed universal respect. At the end of the 1790s. he meets in Moscow with
Ekaterina Lvovna Tolstaya, who by her father came from an ancient noble family: she was
A second cousin of the famous sculptor, vice-president of the St. Petersburg Academy of Arts, Count F.
P. Tolstoy. Through her, the poet became related to the writers Leo Tolstoy and Alexei
Konstantinovich Tolstoy. Ekaterina Lvovna was brought up in the house of her own aunt, Countess
Osterman, where she ended up after her mother's death in 1788.
After the wedding, the Tyutchevs move to the Oryol village. Nothing out of the ordinary
Moscow noble houses of that time, the Tyutchevs' house - open, hospitable, willingly visited
Numerous relatives and Moscow society - was completely alien to literary interests, and in
Features of Russian literature. The hospitable and generous host was, of course, a reasonable man,
A calm, sensible outlook on things, but he had neither a bright mind nor talents. However, in nature
There was no narrowness, and he was always ready to recognize the rights of an alien, more gifted nature.
Fyodor Ivanovich was born into this family. “From the very first years, he turned out to be in it some kind of mansion, with
Signs of the highest talents, and therefore immediately became the favorite and darling of grandmother Osterman, mother
And everyone around. This pampering, no doubt, was later reflected in the formation of his character: more
From childhood, he became an enemy of any coercion, any effort of will and hard work. Fortunately,
The child was kind-hearted, meek, affectionate disposition, alien to any coarse inclinations; all properties and
The manifestations of his childish nature were brightened up by some especially subtle, elegant spirituality. Thanks to
With his amazing abilities, he studied unusually successfully. But even then it was impossible not to notice
That learning was not his day's work, but, as it were, the satisfaction of the natural need for knowledge.
To the credit of Tyutchev's parents, it must be said that they spared nothing for the education of their son and at 10
Years, immediately “after the French”, Semyon Yegorovich Raich was invited to be his tutor. The choice was
The most successful. A learned man and at the same time quite literary, an excellent connoisseur of classical ancient and
Foreign literature, Raich became known in our literature by translations of Virgil's "Georgics",
"Jerusalem Delivered" by Tasso and "Frantic Roland" by Ariosto.
Raich had a great influence on his pet: under his guidance, Tyutchev excellently studied
classical literature and retained this knowledge for the rest of his life - even in his dying illness, broken
With paralysis, he happened to recall entire lines from Roman historians. The student soon became
The pride of a teacher and already at the age of 14 he translated the message of Horace to the Maecenas in very decent verse. Raic like
A member of the Society of Lovers of Russian Literature, founded in 1811 in Moscow, did not slow down
Present this translation to the public, where at one of the ordinary meetings it was approved and read
Aloud to Merzlyakov. Thereafter, “at an extraordinary meeting on March 30, 1818,” the society honored the 14th
Summer interpreter with the title of “employee”.
In the same year, Tyutchev entered Moscow University, that is, he began to go to university lectures
And at first - accompanied by Raich, who, however, soon, precisely at the beginning of 1819, parted with
Your pupil.
With Tyutchev's admission to the university, his parents' house saw new, unprecedented in it before
Moment of visitors. The famous Merzlyakov and the teacher
Greek literature at Obolensky University, and many other scientists and writers: their interlocutor was
A 15-year-old student who “looked like a completely developed young man” and with whom everyone willingly
They entered into serious conversations and debates. This continued until 1821. Before reaching the age of 18, Tyutchev passed
Excellent his last exam and received his Ph.D.
In 1822, Tyutchev was sent to St. Petersburg to serve in the State Collegium of Foreign Affairs.
But in June of the same year, his relative, the famous hero of the Battle of Kulm, who lost his arm on the field
Battles, Count A. I. Osterman-Tolstoy put him in a carriage with him and took him abroad, where he attached
Supernumerary officer to the Russian mission in Munich. “Fate was pleased to arm itself with the last hand
Tolstoy, - the poet recalls in one of his letters to his brother 45 years later, - in order to overpower me on
Outland".
This was the most decisive step in Tyutchev's life, which determined his entire future fate. He never
He did not take any pose, did not draw, he was always himself, what he is. Yes, he was not up to himself,
That is, not to proud considerations about their personal significance and importance. He had too much fun
He was carried away by subjects for him incomparably more entertaining: on the one hand, the brilliance of light, on the
The other is the personal, sincere life of the heart and the higher interests of knowledge and mind.
The second drew him to itself much stronger than the light. He already studied in Russia better than many
His peers were poets, and the German environment was even more capable of conducive to learning than the then
Russian, and especially Petersburg. Having moved abroad, Tyutchev found himself at the very spring of European science.
Having plunged at once into the atmosphere of a harmonious and strict German thinking, Tyutchev quickly renounces
All the shortcomings that education in Russia suffered then. Studying German philosophy, he
He gets acquainted not only with the philosophical works of German authors, but also with the philosophers themselves. well known
His acquaintance with Schelling, with whom the poet often argued, proving to him the inconsistency of his
Philosophical interpretation of the dogmas of the Christian faith.
In general, the character of Tyutchev is difficult to describe. His very ability to be distracted from himself and
Forgetting his personality is explained by the fact that sincere humility lived at the heart of his spirit: however, not like
The highest Christian virtue, and, on the one hand, as an inborn personal and partly national property;
On the other hand, as a constant philosophical awareness of the limitations of the human mind and how
The constant consciousness of his personal moral weakness.
Bowing with his mind to the highest truths of the Faith, he raised humility to the level of philosophical -
Moral historical principle. Worship of the human self was in general, in his opinion, the
A false start that formed the basis of the historical development of modern societies in the West. His mind
Constantly nourished and enriched by knowledge, he constantly thought. Every word he said oozed thought. But
As a poet, his thought process was not that abstract, cold, logical process that he
It is, for example, among many German thinkers: he did not dissociate in it from the artistic and poetic
The element of his soul and all through and through was imbued with it. At the same time, irony is strongly inherent in his mind, but not
The caustic irony of skepticism and not the evil mockery of denial, but as a property often found in the minds of
Especially strong, comprehensive and vigilant, from whom they do not escape, next to important and undoubted,
Comic ambiguous features of the phenomenon.
In Tyutchev's irony there was nothing rude, bilious and insulting, she was always sharp, playful,
Graceful and especially subtly touched the manners and seductions of human vanity. Of course, with such
The property of the mind could not, otherwise, but in an ironic light, be presented to him and self-loving encroachments
His own personality, if they ever existed.
Tyutchev can be called a "thinking spirit", steadily aware of the limitations of the human mind, but
In which the consciousness and feeling of this limitation were not sufficiently replenished with the life-giving principle of faith;
Faith, recognized by the mind, invoked by the heart, but not possessing or completely, not controlling the will,
Insufficiently illuminating life, and therefore not introducing into it either harmony or unity. In this
Duality, this contradiction was the tragedy of its existence. He found no peace
Your thoughts, nor peace to your soul. He avoided being alone with himself, could not stand loneliness
And no matter how irritated by the “immortal vulgarity of man”, in his own words, however, he was unable to
Was to do without people, without society even for a short time.
Tyutchev's natural-philosophical worldview system of the world
Already Tyutchev's contemporaries called him a poet of thought. In relation to Tyutchev, we have the right to say not
Only about the worldview, worldview, but also about his worldview system. True, she got
A peculiar expression and was embodied not in a philosophical essay, but in full artistic
Perfection of verses. The philosophical thoughts of the poet, which are imbued with the images and paintings he created,
Poetic statements do not represent disparate theses, contradictory generalizations,
Caused by different life events.
His poems, of course, are not an illustration of philosophical ideas. immediacy of the emotional
Experience is in deep unity with the thought of the poet. Tyutchev "left" in his poems from life. Poetry
Tyutchev is poetry, freeing itself from everything empirical, worldly, obscuring singling out
The ultimate problems of life. “He,” remarked one critic, “as if came to the very edge, the mysterious
Origin of the universe. He stood at the very borders of an accessible understanding of the world and found such words,
Which constitute the limit of what can be said at all about the world and about oneself.
Tyutchev's lyrics are usually called philosophical. In Russian poetry there are philosophical verses in which
Poets (for example, the so-called wise men) directly stated their views, applying them to a specific
The case, illustrating with images. This cannot be attributed to Tyutchev. His poems are philosophical only in
Problematics, in depth, in the ability to reach the final questions of being: life and death, faith and unbelief,
Chaos and space. But the thoughts and feelings of the poet are devoid of abstraction, they are awakened only by concrete life. His
Poetry is not information about the found, not the proclamation of final truths, not a message about the results of the search,
But the unstoppable search itself.
Tyutchev's natural-philosophical ideas about the world are very close to the religious worldview. And him in
The verses often contain biblical motifs. The predominant and most pronounced are
apocalyptic motives.
Before Tyutchev, Lomonosov rose to the most general problems of the existence of the universe, creating the image
Blooming, feasting Nature and the starry abyss surrounding the earth. After Lomonosov, the problems associated
With the existence of the universe, with the same artistic power were designated in Tyutchev's poetry. It is Tyutchev
Purposefully and concentratedly embodied in his lyrics the natural-philosophical interests of the Russian and
Western European society of the late 18th - early 19th centuries.
The merit of natural philosophers was the awareness of the unity and integrity of nature, the interconnection of its phenomena,
The dialectic of its development is an understanding of the connection between man and nature. Naturphilosophy of the late 18th - early 19th century
Influenced the interest of poets in nature, prompted a poetically enthusiastic depiction of the beauty of the living
material natural forces.
Tyutchev's lyrics are special lyrics. We habitually associate any lyrics with the so-called lyrical
A hero with a strong personality. The lyrics of Lermontov, or Blok, or Yesenin - this is before
Just a certain psychological warehouse, a peculiar personality. Tyutchev's lyrics, in essence, are devoid of
Such an individual character, and even his poems are most often not directly projected onto the biography of the poet.
The hero of Tyutchev's lyrics is a man, more precisely: there is a man in it, but there is no hero in the usual sense
This word. “Oh, our thoughts are a seduction, You, the human “I” ...” - said Tyutchev. Exactly this
"human self" is the hero of Tyutchev's lyrics. His poetry is very personal and at the same time
Impersonal: I am not a character, not a lyrical hero.
Even with certain, albeit very specific, signs (“I passed through the Livonian fields”), the hero
Freed from social, psychological, historical concreteness. This is individuality in general. This,
Perhaps the most personal lyric in Russian poetry, expressing the depth of a person’s personal life and at the same time
The same time freed from social, historical, everyday concreteness.
Tyutchev's poetry is the human "I" with its eternal last questions in the face of the world.
First of all, in the face of nature. But Tyutchev's lyrics, often called the lyrics of nature, are by no means
Just the lyrics of certain landscapes: in Tyutchev's poetry, even when it comes to a local picture, we
We always find ourselves in front of the whole world. “Catch,” Nekrasov wrote, “exactly those features by which
In the reader's imagination, this picture may arise and be completed by itself - the work of the greatest
Difficulties. G. F. Tyutchev is fluent in this art.”
Tyutchev knows how to feel behind every natural phenomenon all its colossal and mysterious life in the light
Day and in the darkness of night, in terrible chaos and in beautiful harmony:
Not cold from the heat
The night of July shone...
And over the dull earth
A sky full of thunder
Everything in the lightning trembled.
Like heavy eyelashes
Rising above the ground
And through the fugitive lightning
Someone's formidable apples
Lit up at times...
“A phenomenon of nature,” Druzhinin remarked at the same time about this poem, “is simple and uncomplicated,
Yes, moreover, taken without any relation to the fantastic world, it grows into a picture of a vague and, as it were,
supernatural majesty." Tyutchev does not seek to reproduce the geographically specific flavor of the place,
He avoids poetic detail aimed at a realistic depiction of a private picture of nature.
He, as a poet, is interested in the existence of mother earth in its main most general manifestations, Tyutchev’s earth is
Like the center of the universe.
Biblical motifs in the lyrics of F. I. Tyutchev
Man and nature, as a rule, are presented in Tyutchev's poems not only as a whole, but also in their own way.
Primordial. In the poem "Madness", for example, the desert appears as the eternal biblical
Prairature:
Where with the scorched earth
Merged like smoke, the vault of heaven, -
There in cheerful carelessness
The miserable madness lives on.
Under fiery rays
Buried in the fiery sands
It has glass eyes
Looking for something in the clouds...
His poetic consciousness is carried away by the natural elements with which the existence of the earth is connected: water,
Fire and air. The elements that stood at the very origins of the creation of the world according to the Bible: “And God said: let there be
A firmament in the midst of water, and let it separate water from water. And it became so. And God created the firmament, and separated the water,
Which is above the firmament. ,
Which is above the firmament. And it became so. And God called the firmament sky. And God said, Let the waters that are under
Heaven in one place and let the land appear. And it became so. And they gathered the waters under the sky into their places, and dry land appeared. And
God called the dry land, the earth, and the collection of waters, the seas. (Genesis. Ch. 1)
In particular, the poet is attracted to the water element. Water, by his definition, is cold, mobile,
changeable; it is an infinite (“abyss”), living and harmonious element:
About the mortal thought of a water cannon,
O inexhaustible water cannon;
What law is inexhaustible
Does it aspire to you, does it bother you?
How greedily you are torn to the sky!
But the hand is invisibly fatal,
Your beam stubbornly refracting,
Sparkles in the spray from a height.
There is melodiousness in the waves of the sea,
Harmony in spontaneous disputes.
Clouds are melting in the sky
And, radiant in the heat,
In sparks the river rolls
Like a steel mirror.
Water is the most ancient element, the most powerful element, the waves sang at the cradle of the earth, in
The depths of the earth - water ("flow of groundwater"). The end of life on earth is signified by its victory: “everything visible
The waters will cover." Water at Tyutchev received the definition of "great swell", it is also fertile for the earth, since
It cools and waters it, giving it life, which, in the end, will destroy the earth, as was predicted by John.
Water is opposed to fire. He is also life-giving and dangerous to the earth. If the homeland of water is the depth of the earth,
That is the birthplace of fire - the sky. For Tyutchev, the sky is a “fiery firmament”: “the heavens are shining”, illuminated by the fire of the sun.
Fire is blessed, it is “darling”, “alive”, as it gives light, warmth and life. Fire penetrates everything: plants and
Human, it burns in his chest, glows in his eyes. But fire and evil elements, this is an “evil fighter”, “elemental
Enemy power”, he is like a “crowned beast”, devouring all living things, incinerating everything, deadening.
With special reverence, the poet 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. Air is the lightest and
Pure element. Tyutchev's ether is "pure and invisible", the sky is "clear". Light transparent element binds everything
Living, absorbs and distributes all manifestations of life and life itself. But the air element can
To be formidable: a storm, a night wind, a cold wind of an approaching winter, a prickly winter air - they
Hostile to all living things.
Nature is full of love and bliss:
We are a distant world, devoid of strength,
Permeated with fragrant bliss,
Reposed in the mist of midday.
Nature has its own language. At night, the key speaks in the garden, and the wind sings terrible songs in the storm. spring
The waters say: “Spring is coming! Spring is coming!" Nature knows how to be silent:
But yours, nature, the world is silent about white days.
With a smile ambiguous and secret ...
In a word, Tyutchev’s nature is a living organism that feels, feels, acts, has
Your addictions, just as it happens with people or animals. But Tyutchev's nature is much higher,
Nature is the highest mind, both creating and punishing, destroying. His weapons are the elements: water,
Fire, air.
The problem of man's discord with nature
The theme of discord with nature is most definitely presented for the first time in the poem “Italian
Villa”, where nature sleeps in a blissful sleep, and “evil life” flows in a person. "Evil life" destroyed the harmony
Nature. The reason for discord with nature lies, firstly, in man himself. Not nature rejects him, but
He himself, immersed in the “evil” passions of human life, is unable to accept the harmonic
"fertile" world of nature.
The end of the world in the Apocalypse is also connected with the fact that a person has lost true faith, union with God, not
He kept these commandments, led a sinful life, going at odds with the will of God.
Secondly, the general structure of the being of nature is such that a living individuality is separated from it. Nature
It is durable, and the existence of a person is fleeting, nature has its own patterns of life, different from
Human.
Although the discord between man and nature is given a lot of space in Tyutchev's poetry, the main thing in his poems
- affirmation of the possibility of merging, the beneficial, morally cleansing influence of nature on man.
Unity with nature is not presented as an instantaneous state of a person, but more or less long-term:
“Drinking warm spring air all day long in inaction,” spring unity with nature is by no means
Instantly. When at the end of the poem “Spring” the poet speaks of the introduction of “man to world” life
“although for a moment”, he shows precisely an instant merger with nature, but his ideal is a constant and
Close, as if internal communication with nature. In the philosophical system of Tyutchev, the first place is put forward
Not the “introspective spirit”, without which matter is dead, as in Schelling, but, on the contrary, material nature,
With the destruction of which consciousness disintegrates. Tyutchev's philosophical system emphasizes the importance
The material existence of nature and man.
With particular force, the tragic conflicts of the spiritual existence of modern man manifested themselves and
Imprinted in Tyutchev's love lyrics: after all, love turned out to be one of the manifestations of such a close
Tyutchev of a rebellious life - spontaneous and, in the words of the poet himself, "fatal". Tyutchev's love poetry is
A whole story, which has its own chaotic fermentation of the soul and harmonic resolutions. Let's remember though
Would “I met you - and all the past In the obsolete heart came to life: I remembered the golden time - And the heart became
So warm…"

Analysis of the poem
1. The history of the creation of the work.
2. Characteristics of the work of the lyrical genre (type of lyrics, artistic method, genre).
3. Analysis of the content of the work (analysis of the plot, characterization of the lyrical hero, motives and tone).
4. Features of the composition of the work.
5. Analysis of the means of artistic expression and versification (presence of tropes and stylistic figures, rhythm, meter, rhyme, stanza).
6. The meaning of the poem for the entire work of the poet.

The poem "Silentium!" was written by F.I. Tyutchev in 1830. It had three editions. It was first published on March 16, 1833 in the newspaper "Molva" No. 33. Secondary (with an error in the 16th verse) was published in "Sovremennik" for 1836. Then it was published for the third time - again in Sovremennik in 1854 and 1868, in the so-called "Sushkov-Turgenev edition". Silentium! was L.N.'s favorite poem.

easy. He included it in the Reading Circle, accompanying it with the epigraph: “The more secluded a person is, the more audible to him is the voice of God always calling him.” In his collection of Tyutchev's poems, Tolstoy marked "Silentium!" letter "G", marking the special philosophical and lyrical depth of the work. Also, this poem was very fond of D.I. Mendeleev, who quoted him in the preface to "Treasured Thoughts".
The word "silentium" in Latin means "silence", "silence". However, the researchers note that this word was used in Germany as a call to guests before toasts, a call for silence in the audience before the teacher's speech or before the speech of one of the students. This meaning of the expression was probably also familiar to Tyutchev, who from 1822 served in Munich, in the State College of Foreign Affairs, and attended lectures at the local university. Thus, we discover a new meaning of the title - a call for focused listening, for full concentration of attention.
The work belongs to philosophical lyrics, its style is romantic, revealing the ambiguity of meaning. Genre - lyric poetry. The well-known researcher Yu. Tynyanov called Tyutchev's poems lyrical fragments. We also note the oratorical, didactic intonations of the work, the possible influence on the style of his speeches by Cicero and ancient philosophers, whose works the poet was well acquainted with.
The main theme is the eternal opposition of the external world and spiritual life. Researchers have repeatedly noted that the dualism and polarity of Tyutchev's worldview are reflected in his works. Feeling and phenomenon in the poet, as a rule, is given together with the antipode. The poem "Silentium!" is constructed according to the same scheme. In the first stanza, the poet turns to an invisible interlocutor, perhaps to a friend, perhaps to himself. Here the action from the outer world seems to be transferred to the inner world. The poet persistently and ardently convinces his interlocutor:

Energy, strong-willed pressure are conveyed in this stanza by imperative verbs (“keep quiet”, “hide” and “tai”) and a special construction of a phrase in which three sentences are combined into a single phrase. And already here we observe the opposition of the world of internal and external. The poet correlates inner life with night, he compares feelings and dreams with silent night stars. So in this comparison, with light strokes, Tyutchev the Romantic denotes the “signs” of the life of the soul: subtlety, elusiveness, vagueness, uncertainty and unpredictability of our desires, thoughts, dreams. At the same time, “feelings and dreams” here acquire a certain autonomy and significance - they live an independent, full life: they “get up” and “come in”. Sometimes a person himself is not able to understand his own feelings - this is the conclusion that the first stanza of the poem brings us to.
The second stanza is an appeal from the inner world to the outer world, and then, on the contrary, back to the inner. Energetic pressure, perseverance are replaced by cold reasoning, logic. At first, the poet poses rhetorical questions, in which there is doubt about the very possibility of a fruitful contact between the world of the heart and the world of external life. This doubt is underlined in the text by the particle “li”. These questions play the role of a kind of thesis in the poet's reasoning:

He then gives an unequivocal answer to his questions:

The life of the soul is here compared to unclouded keys. In this, again, Tyutchev emphasizes her autonomy, whimsicality. Feelings and experiences sometimes completely dominate a person, completely subjugating his external behavior. Such was, obviously, the attitude of the poet himself. In addition, a person is not able to convey his true thoughts and feelings. There is an unbridgeable gulf between consciousness and speech. And this is one of the laws of human society, which we must accept. And as a final conclusion, an appeal to the interlocutor follows again: "Eat them - and be silent." Here the idea of ​​self-sufficiency of the individual is guessed. Man, according to Tyutchev, is a whole world, the depths of his consciousness and soul are endless. He must find the desired harmony in his own soul.
And this is what the poet says in the third stanza:

The poet's thought here returns to the first stanza. As N.F. Koroleva, “mysteriously magical thoughts are ... romantic dreams, shades of states, which are so interesting to eavesdrop on in yourself for the young romantic imagination.

in adulthood, they can cause a smile, but will not be funny if they were sincere. They do not withstand contact with real life. A person must have a special “delicacy of hearing” in order to fully enjoy the magical “singing” that flows in his soul at certain moments. The external life here is correlated with daytime: it is transparent, simple and understandable. In addition, it is vain and noisy: "They will be deafened by the outside noise."
The idea of ​​the work echoes the main idea of ​​V.A. Zhukovsky "The Unspeakable". The latter writes about the artist's limited ability to "keep the beautiful in flight":

According to Zhukovsky, the artist's soul is the only repository of direct impressions and living feelings: "Holy sacraments, only the heart knows you." The artist is subject only to the external designation of the phenomenon (“what is visible to the eyes”), but not the transfer of its deep essence (“This bewitching voice, listened to by one soul”). Tyutchev the romantic, I think, goes further than his predecessor. A person is not able to convey his thoughts and feelings to others, the soul is inexpressible in words - this is the opinion of this poet. This is how many critics perceived this work. So, V. Gippius wrote about Tyutchev: “In the mythology with which his poems are filled, the bright goddess Liberty also takes its place ... But her appearance is unclear, as is unclear and the whole poetic theme in Tyutchev’s poetry of these years is “the poet and people ". And next to the greeting to public freedom, a deeply gloomy poem “Silentium!” arises ... in which sharp formulas are given that separate the “I” not only from Pushkin’s “uninitiated” mob, but also from any kind of human communication ... "
Compositionally, the work is divided into three parts (by stanza), each part is “completely closed in itself – in meaning, intonation, syntactically and musically.

the ide of parts is only in the development of lyrical thought, which ... constitutes the lyrical plot ...<….>The only formal detail that the poet allows himself to reinforce, to emphasize the unity of the three parts, is the persistently repeated rhymes and the last lines ... "The poem begins and ends with the motive of silence:" Be silent, hide and hide "-" Heed their singing and be silent. In this regard, we can talk about the ring composition.
The poem is written in iambic tetrameter (with the inclusion of amphibrach), sextines, rhyming is a steam room. The poet uses very modest means of artistic expression: an epithet (“mysterious magical thoughts”), a comparison and a metaphor (“Let them rise in the depths of their soul and set Silently, like stars in the night ...”). We find high-style words (“one”, “stars”), aphorisms (“how can another understand you?”, “A thought uttered is a lie”), alliteration (“They will be deafened by outside noise”).
Silentium! vividly characterizes Tyutchev as a poet-philosopher and romantic poet. In terms of the depth of the content of philosophical thought, it echoes such works of his as the poems “Oh, my prophetic soul!”, “We are not given to predict”, “My soul is the Elysium of shadows”.

The text "Silentium!" F. Tyutchev

Be silent, hide and conceal
And your feelings and dreams -
Let in the depths of the soul
They get up and come in
Silently, like stars in the night,
Admire them - and be silent.

How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Thought spoken is a lie.
Exploding, disturb the keys, -
Eat them - and be silent.

Only know how to live in yourself -
There is a whole world in your soul
Mysterious magical thoughts;
Outside noise will deafen them
Daytime rays will disperse, -
Listen to their singing - and be silent.

Analysis of Tyutchev's poem "Silentium!" #2

It is no secret that Fyodor Tyutchev created his early works exclusively for himself, formulating his thoughts and feelings in such an unusual way. Being a diplomat and a fairly well-known statesman, he did not strive for literary fame. And only the persuasion of one of his colleagues, who believed that Tyutchev's poems were really amazing, forced the poet to publish some of them.

Among the first works that were published in Russian magazines, it is worth noting the poem "Silentium!", The name of which in Latin means "Be quiet!". This work has undergone several revisions, as the author considered it quite frank and very personal in order to present to the readers. Nevertheless, it was this work that brought the novice poet and accomplished diplomat the glory of a very subtle, romantic and not devoid of philosophical worldview writer.

The poem "Silentium!" was published in 1830, but it is assumed that it was created much earlier. And the reason for writing such an unusual work both in form and in content was Tyutchev's marriage to Eleanor Peterson a few years after entering the diplomatic service. The poet was madly in love with his young wife and after the wedding he considered himself a truly happy person. However, the premonition of imminent trouble still haunted Tyutchev. The poem “Silentium!” .

It begins very atypically for the poet, who was later destined to become the founder of Russian romanticism. The first lines are a call to be silent, hiding your feelings and thoughts, which can be explained by the kind of activity of Tyutchev as a diplomat. However, the poet further develops his idea, noting that dreams remind him of the stars in the night, which are also ephemeral and far away. Therefore, the author calls, referring to an unknown interlocutor: "Admire them - and be silent!".

For the second participant in this strange dialogue, many researchers of Tyutchev's work mean his wife Eleanor. However, the poet's appeals are addressed not to a woman, but to a man.. Taking into account the fact that Tyutchev did not plan to show his first poems to anyone at all, it is easy to guess that the author is having this unusual conversation with himself. And it is to himself that he orders to be silent, believing that only in this way can he protect his personal happiness, his hopes and dreams from encroachment. At the same time, the poet points out that “the thought uttered is a lie,” and this phrase contains a hint of biblical truths, which say that a person’s thoughts are subject only to God, and the devil can overhear the words. Apparently, Tyutchev is desperately afraid of something, and this fear makes him withdraw into himself, to be much more restrained in conversations, actions and judgments.

If we compare the facts, it turns out that it was at this time that the poet met his future wife and proposed to her. He does not flatter himself with the hope that the nee Countess Bothmer will agree to become his wife. However, contrary to expectations, she receives permission for marriage from Eleanor's relatives and for a long time cannot believe her happiness. Tyutchev is so grateful to fate for this unexpected gift that he is afraid to frighten off his family well-being with an extra word or thought. That is why, occasionally breaking away from his "mysteriously magical thoughts", the poet orders himself: "Pay attention to their singing - and be silent!" .

Thor seems to have a presentiment that his personal happiness is not destined to last forever. And indeed, in 1838, after an unsuccessful return to Russia, accompanied by the wreck of the ship, Eleanor Tyutcheva dies in the hands of the poet. Thus, his fears become reality. According to eyewitnesses, after the death of his wife, Fedor Tyutchev became completely gray-haired in a few hours. And - completely parted with the illusions that he could be happy.

The poem conveys the thoughts of F.I. Tyutchev that the inner world of a person is clear only to himself and can never be fully seen by others. Words cannot convey all the dreams and dreams that we live in. “A thought spoken is a lie,” the poet writes.

Each stanza in the work is a separate semantic part, completely closed in itself. They are united only by the main idea of ​​the poem about the alienness of the inner world of man and the outer, as well as the repetition of the final words in the last lines. (Epiphora)

The first stanza contains an energetic conviction (“keep quiet, hide and hide”), the words of a mentor invisible to the reader, who seeks to help the seeker to understand his spiritual world, learn to see all its unique originality.

In the second stanza, persistent conviction turns into logical reasoning. The tone of the mental monologue of the lyrical hero is changing, now he is not trying to tell someone his point of view, to teach the life of an unintelligent person in need of help.

The tor uses such a poetic device as a chain of rhetorical questions with which he addresses himself: “How does the heart express itself? How can someone else understand you? Will he understand what you live for? And then he concludes: "The thought uttered is a lie." So the poet expresses his idea that it is difficult to convey in words all the richness and fullness of the human soul.
In the third stanza, the instruction of a wiser man is again heard, addressed to younger dreamers. He gives advice on how to preserve the silence and magic of the unsophisticated mind:

Only know how to live in yourself -
There is a whole world in your soul
Mysterious magical thoughts.

There are few tropes in the work: for three stanzas - three images: a comparison of "Silently, like stars in the night" in the first, a parallel of spiritual life with clear keys - in the second, and a contrast of daylight rays to the hidden world of "mysterious magical thoughts" - in the third. In my opinion, a small number of tropes, combined with elements of colloquial speech, the imperative mood of verbs, makes the text look like a spell. Following the rhythm of the poem, the reader plunges into a state of inner silence, the path to which the author is trying to tell us. So the poet tries to help those who do not hear the voice of their soul and lose themselves in the hustle and bustle of everyday life.

The poem seemed to me ambiguous and difficult to understand. However, after reading it carefully, I saw in it a meaning that meets my convictions: for someone who has managed to truly understand himself, who has learned to appreciate his inner wealth, the vanity of the outside world cannot prevent him from being a whole and self-sufficient person. Only being in harmony with oneself, one can live a full life and not depend on anyone.

Analysis of the poem "Silentium!" Tyutchev.

Tyutchev did not write for the public, he mainly wrote for himself, putting his thoughts on paper. In each poem, he seeks the truth, the truth.
Tyutchev's poem "Silentium!" was written in 1830 in iambic tetrameter. The incorrect emphasis of some words in the poem is explained by the fact that it was more important for Tyutchev to show true feelings, and not lies. He addresses the questions of life:

How does the heart express itself?
How can someone else understand you?
Will he litter what you live?

He is looking for answers to them, doubts or, conversely, is convinced of the correctness of his thoughts. Tyutchev argues that even the heart is sometimes difficult to admit one's thoughts and assumptions, but whether another person will understand you is an eternal question, because the ideas about life, thoughts and feelings of all people are different and contradictory. Tyutchev advises:

Be silent, hide and conceal
Feelings and dreams.

As if fear is born in a person: “Will they understand me? What will they say in response? But Tyutchev believed that he would be understood by mankind.
But Tyutchev also calls for listening to other people's opinions:

Exploding, disturb the keys, -
Eat them - and be silent.

Thus, deepen your knowledge and ideas about the world.
You can’t show your every thought to the light, you just need to enjoy it yourself, as well as hide your feelings and restrain emotions that overwhelm your soul.
A person must live in his own world, his soul, so that it is a secret for everyone, because, having discovered it, he may not be understood by other people and alien to those who do not consider his opinion and assumption to be true.

analysis of the poem number 5

Everyone who is at least a little familiar with the work of Fyodor Ivanovich Tyutchev knows that at the beginning of his "creative development" the author's poems were exclusively personal creations. Tyutchev did not crave popular fame, because already at that time he was a fairly recognizable person in wide circles, because he occupied the honorary place of a diplomat.

However, fate had prepared for him a good career as a writer, and it all happened because of one incident. One of my colleagues-colleagues quite by chance read some sketches of poems, and he liked them very much. That is why Fyodor Tyutchev tried to publish his first masterpieces.

Among the extremely interesting works that the author published, the poem “Silentium!” stood out brightly, which was unique and unrepeatable, few poets at that time could publish such an insignificant work, but so significant in essence.

When analyzing the poem, let's start with the title. The word itself: “Silentium” (Silentium) means “Be silent” (translated from Latin). What does this "be quiet" mean? Tyutchev was a rather interesting philosopher, and this work has a clear philosophical meaning, but Fedor Ivanovich was rather withdrawn and did not want to share his thoughts. Even this work was published after a series of editing, the author considered it too personal.

The deep meaning of this poem lies in the fact that it is sometimes very difficult for a person to tell another about his thoughts, experiences and feelings, that a person is afraid of ridicule.

How does the heart express itself?

How can someone else understand you?

Will he litter what you live?

The word - "Be quiet" means that you need to trust your thinking exclusively to yourself, you do not need to talk about a personal topic with another - he will not understand you. It is much better to discuss the problem with yourself and only then you will find a solution.

Only know how to live in yourself

There is a whole world in your soul

Outside noise will deafen them

You need to learn to live with yourself, understand your every thought, and not discuss it with anyone, otherwise your thoughts will be ridiculed, and you will spend your whole life doubting: “Am I right in my opinion, because they tell me otherwise.” Listen to yourself, look into your world, look for answers to all questions there, look for your path there and do not leave it. Don't let other people's opinions change your individual world!

Analysis of the poem by F.I. Tyutchev "Silentium!"

Hardly any other work by Fyodor Ivanovich Tyutchev (1803-1873) has been subjected to so many conflicting interpretations as his brilliant poem "Silentium!" (“Silence!”) (no later than 1830). The poem consists of 18 lines divided into three six-verse lines, each of which is relatively independent both in semantic and intonation-syntactic respects. The connection of these three parts is only in the development of the lyrical themes.

From the formal means, as a beginning fastening these three parts, one can note homogeneous end rhymes - precise, strong, masculine, shock - and the last lines rhymed by them in each of the three six-line lines. The main thing that connects all three parts into an artistic whole is intonation, oratorical, didactic, persuasive, invocative and commanding. “Be quiet, hide and hide,” the indisputable command of the first line is repeated three more times, in all three six-verses. The first stanza is an energetic persuasion, an order, a strong-willed pressure.

In the second stanza, the energy of pressure, dictate weakens, it gives way to the intonation of conviction, the meaning of which is to clarify the decisive instructions of the first stanza: why should feelings and dreams be hidden in the depths of the soul? There is a chain of evidence: “How can the heart express itself? / How can another understand you? / Will he understand what you live for? / Thought uttered is a lie. We are talking about communication skills, about the ability of one person to convey to another not his thoughts - it's easier - but the life of his soul, his consciousness and subconscious, his spirit - something that does not come down to reason, but much wider and thinner. Feeling, formed into a thought by a word, will obviously be incomplete, and therefore false. Insufficient, false will be the understanding of you by others. Trying to tell the life of your soul, your feelings, you will only spoil everything, not reaching the goal; you will only alarm yourself, violate the integrity and peace of your inner life: “Blowing up, you disturb the keys, - / Eat them - and be silent.”

The first line of the third stanza contains a warning about the danger that the very possibility of contact between two incompatible spheres - inner and outer life - carries in itself: “Only know how to live in yourself. ". This is possible: “There is a whole world in your soul / Mysterious magical thoughts; / They will be deafened by external noise, / The daylight will disperse the rays. “Mysterious magical thoughts” return the thought to the first stanza, since they are similar to “feelings and dreams”, which, like living beings, “both get up and go in” - that is, these are not thoughts, these are dreams, sensations, shades of spiritual states that together make up the living life of the heart and soul. They can be "deafened" by "external noise", dispersed by "daytime" "rays" - all the turmoil of the "daytime" worldly fuss. Therefore, it is necessary to protect them in the depths of the soul; only there they retain their harmony, order, consonant "singing": "Pay attention to their singing - and be silent!"

Such is the content of this most perfect creation of Tyutchev's philosophical lyrics. It is whole and harmonious. It is worth focusing only on the aphorism “The thought uttered is a lie,” and the poem will already speak of the eternal disunity of people, and as such it will be alive and relevant for a person of all ages, because it will tell us about what is rooted in the very nature of man.

Listen to Tyutchev's poem Silentium

Problem: the relationship of the inner and outer world

The main idea: it is better to keep your secrets and dreams, problems and experiences to yourself, because you never know how people will react to them. Man himself is by nature doomed to loneliness, so it is better to pay more attention to your inner world, which is wider, richer and brighter than the outer one.

A number of problems: firstly, in three stanzas Tyutchev reflects on three problems: in the first - a person and the world around him, in the second - people's attitude to other people's dreams, secrets, beliefs, problems, etc., in the third - a person and his inner world.

Secondly, throughout the poem, the theme of the loneliness of a person among people, as well as the opposition of the external and internal worlds, can be traced.

Features of the composition: The poem is divided in meaning into three parts, each of which is a separate stanza. Each part contains its own theme and problem arising from the main part, each has its own beginning, development and logical end. They are united by a common theme, the same principle of construction, each, despite its independence, also has common features with others in that it ends with the words “and be silent”, before which there is an imperative verb.

Genre: poem

Function: impact

Type: reasoning

Style: artistic

Main images:

Comparing the inner and outer worlds, the author creates images of stars and night - the inner world (“silently, like stars in the night”), a huge and bright world in a person’s soul (“there is a whole world in your soul”), an image of a noisy and fussy external world ("They will be deafened by outside noise").

Size: iambic with pyrrhic elements

rhyme: couple

Effective preparation for the exam (all subjects) - start preparing

Nature for Tyutchev is not only the delight of the soul, but also a means by which one can learn the philosophical questions of the universe. To open another facet of this poet, the face of a philosopher, it is worth reading the verse “Day and Night” by Tyutchev Fedor Ivanovich.

In the work, the poet gave an original romantic interpretation of such a phenomenon familiar to us as the change of day and night. Already in the first lines, the author hints at the divine fate in the existence of the world. It is the gods who throw a protective cover over the world, which envelops the "mysterious abyss" with fertile warmth and care. Further, the poet tries to explain why the day is a friend of "men and gods", and the night is a time of fears. The text of Tyutchev's poem "Day and Night" shows the eternal struggle of the times of day: the day covers the world with a golden veil, and the night rips it off. This fight goes on endlessly and there are no winners. The composition of the verse is consonant with its theme and idea, it reflects the process of changing day and night. The image of the abyss, which is mentioned in both stanzas, is interesting. By this image, we understand the Universe, which holds many mysteries, therefore the author characterizes it with the epithet "nameless".

Verse is taught in literature classes in high school, paying attention to its philosophical motives. You can read the text of the verse online or download it in full on our website.

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!

The history of creation and general characteristics of the poem "Day and Night"

Poem F.I. Tyutchev "Day and Night" is one of the best works of Russian philosophical lyrics. It was highly appreciated by contemporaries: L. N. Tolstoy, who always admired Tyutchev's talent, made the following note on the margins of his publication next to this poem: “Depth! The beauty!".

This poem was printed no later than the beginning of 1839 and published in the XIV volume of the Sovremennik magazine in the same year. In Sovremennik in 1836, Tyutchev's "Poems sent from Germany" were already printed, with the signature "F. T.". Pushkin, publishing these poems in the third and fourth volumes of his journal, spoke of them with enthusiasm.

So, the analyzed poem:

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 shining cover -

Day - terrestrial revival

Souls of the aching healing,

Friend of man and gods!

But the day fades - the night has come;

Came 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 is why we are afraid of the night.

The poem "Day and Night" is written in iambic tetrameter - the most neutral and traditional poetic size of Russian poetry; most Russian poems of the 19th century were written in iambic tetrameter; Tyutchev's lyrics are no exception, in which this meter predominates. The poem consists of two eight lines - a structure that is very common in Tyutchev, found in many of his poems, for example: “Fountain”, “What are you howling about, the night wind ...”, “Cicero”, “The stream thickened and fades ... ”,“ The gray-gray shadows have shifted ... ”and others. Such a strophic structure most accurately reflects the antithesis of "day" and "night" - the main images of the poem, which the poet speaks about in the first and second stanzas, respectively. Each octet can be divided into two quatrains with encircling rhyme; each of the four resulting quatrains is a complete sentence. Interestingly, both stanzas end with an exclamatory intonation; this is typical for Tyutchev (for example, the poems "Cicero", "What are you howling about, the night wind ..."). This is explained by the fact that Tyutchev in many of his poems acted as an orator addressing the reader with a solemn speech; No wonder the poem ends with an aphoristic conclusion: "That's why we are afraid of the night!".

As already mentioned, the poem has an encircling rhyme; the first and fourth lines of each quatrain end with a masculine ending, the second and third lines with a feminine one. A similar structure is found in the poems "Cicero", "Fountain", also sustained in a solemn declamatory intonation. It is necessary to pay attention to the fact that in the first stanza all male endings (the first, fourth, fifth and eighth lines) rhyme with each other: spirits - gods - cover - gods, and the fifth and eighth lines are interconnected by a tautological rhyme. As for the remaining four lines, the consonants coincide in them: nameless - golden-woven, revival - healing. In the second stanza, stressed vowels coincide in each of the quatrains: night - away, fatal - cover (vowel -o-); naked - scary, in the dark - by us (vowel -a-).

The poem has a very sophisticated sound writing, as a literary device one should consider the abundance of lexical repetitions and cognate words: it seems that the poet wants to emphasize the main images of the poem, which is again connected with Tyutchev's oratorical style.

The sophistication and severity of the poetic form make the poem "Day and Night" one of the best in Russian poetry.