The writing
If in the first period of creativity F.I. Tyutchev acted as a philosophical poet, then in adulthood the poetry of thought was enriched with the complexity of his feelings and moods. To express the complex world of the human soul, the poet used associations and images of nature. He did not just paint the state of the soul, but its “beating”, the movement of inner life, depicting the invisible mystery of the gestures of the inner world through the visible dialectic of natural phenomena. The poet was inherent in the ability to convey not the object itself, but those of its characteristic plastic features by which it is guessed. The poet encouraged the reader to "finish" what was only outlined in the poetic image.
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. These four lines concentrate the true attitude to Nature, which is inherent in our Russian civilization from the very beginning. In poetry, Tyutchev sought to comprehend the life of the universe, to comprehend the secrets of space and human existence. The human "I" in relation to nature is not a drop in the ocean, but two equal infinities. The inner, invisible movements of the human soul are consonant with the visible dialectic of natural phenomena.
You see a leaf and color on a tree:
Or did the gardener glue them on?
Or the fruit ripens in the womb
The play of external, alien forces?
The poet's skill in creating phonetic and pictorial images, the combination of sound writing with an unexpected palette of colors and color images is incredible. The sound and color structure of Tyutchev's lyrics is unique in the inseparability of impressions from colors and sounds, the “sound of color” and “color of sound” are integrated in the artistic image (“sensitive stars”; a ray bursting into the window with a “ruddy loud exclamation”, etc. )
And with unearthly tongues,
Thrilling rivers and forests
At night I did not consult with them
In a friendly conversation, a thunderstorm!
Given the peculiarities of Tyutchev's poetic style, interpreting his texts about nature, it is necessary not only to pay attention to their philosophical nature, but also to trace the evolution of meanings and moods.
Not their fault: understand, if you can,
Organ life, deaf-mute!
Soul it, ah! won't alarm
And the voice of the mother herself! ..
Tyutchev's poetry was defined by researchers as philosophical lyrics, in which, according to Turgenev, the thought "never appears naked and abstract to the reader, but always merges with the image taken from the world of the soul or nature, penetrates it and penetrates it inseparably and inseparably." Tyutchev revives certain features of the ancient worldview, and at the same time, an independent personality, which in itself is a whole world, appears in his position. Tyutchev affirms in his lyrics the image of a man worthy of the universe. It affirms the potential divinity of the human person. Tyutchev's nature is poetic and spiritual. She is alive, can feel, rejoice and be sad:
The sun is shining, the waters are shining, There is a 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, spirituality gives rise to the perception of nature as a huge human being. This is especially evident in the poem "Summer Evening". The poet associates 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,
Like hot 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 signs: “... 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 does not draw any 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, “grabbed the blanket”, “climbed up on the bed”, but we also feel its touch. The living wealth of Tyutchev's nature is limited. Yes, nature is alive, sublime, but far from everything that is objectively alive touches the poet. He is alien to the prosaic appearance of poetry, its ordinariness and substantive simplicity. Tyutchev's nature is universal, it manifests itself not only on earth, but also through space.
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. Tyutchevskaya night is not just beautiful, its beauty is majestic:
... A veil descended on the day world;
The movement was exhausted, labor fell asleep ...
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?..
Tyutchev's skill is amazing. He knows how to find in the most ordinary natural phenomena that which serves as the most accurate mirror image of beauty, and to describe it in simple language. 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. "Those who do not feel him do not think about Tyutchev, thereby proving that he does not feel poetry." These words of Turgenev perfectly show the magnificence of Tyutchev's poetry.
Not what you think, nature:
Not a cast, not a soulless face ...
It has a soul, it has freedom,
It has love, it has a language...
You see a leaf and color on a tree:
Or did the gardener glue them on?
Or the fruit ripens in the womb
The play of external, alien forces?
They don't see or hear
They live in this world as if in the dark!
For them, and the suns, to know, do not breathe
And there is no life in the sea waves!
The rays did not descend into their souls,
Spring did not bloom in their chest,
With them, the forests did not speak
And there was no night in the stars!
And with unearthly tongues,
Thrilling rivers and forests
At night I did not consult with them
In a friendly conversation, a thunderstorm!
Not their fault: understand, if you can,
The body is the life of a deaf-mute!
Other editions and variants
29-32 Not their fault: understand, if you can,
Organ life, deaf-mute!
His soul, oh, does not disturb
modern. 1836. Vol. III. S. 22.
COMMENTS:
First post - modern. 1836. Vol. III. pp. 21-22, number XVI, in the general collection entitled "Poems sent from Germany" with the signature "F.T." Reprinted - Nekrasov. pp. 65–66; modern. 1850. T. XIX. No. 1, pp. 65–66. Then - modern. 1854. Vol. XLIV. pp. 9–10; Ed. 1854. S. 15; Ed. 1868. S. 18; Ed. SPb., 1886. S. 73; Ed. 1900. pp. 106–107.
List Drying notebooks contains Tyutchev's corrections: the 3rd and 4th lines are inscribed in pencil - "She has a soul, she has freedom / She has love, she has a language ...". In the 12th line was the word "wonderful" (it is reproduced in the first edition), which is corrected to "alien". In the 19th line was the word "sun", corrected to "suns", "breathes" corrected to "breathe". At the end of the 20th line, an exclamation mark is put instead of a dot, at the end of the 2nd line - an ellipsis. The dots indicate the missing 2nd and 4th stanzas.
Listed Muran. album Tyutchev's editing of the text Drying notebooks not taken into account, the 19th line is given in the previous version: “For them, the sun, to know, does not breathe.” Tyutchev's cosmism of thinking (the poet surveys many "suns" and feels them, many, breath) is eliminated here. The last stanza is presented in some kind of compilation form: 1st line - as in modern. 1836 ("Not their fault: understand if you can"), but the 3rd line is kind of like in modern. 1854: “Alas! You won’t disturb the soul in it, ”although the ending in the second person does not agree well with the 4th line of this stanza.
The first edition was subjected to censorship correction - stanzas were excluded, as researchers believe, unacceptable from an orthodox point of view. But Pushkin retained a trace of the missing stanzas, replacing them with dots (see about this: “Vremennik of the Pushkin House”. Pg., 1914. P. 14; Pushkin A.S. Complete collection of works: In 16 vol. M. , L., 1949. T. 16. S. 144; Ryskin E. From the history of Pushkin's "Contemporary" // Russian literature. 1961. No. 2. S. 199; Lyric I. pp. 369–370).
ON THE. Nekrasov reprinted the poem without reproducing the dots put in the Pushkin edition, replacing the missing stanzas. Later it was printed the same way. Differences touched the last stanza. in Pushkin modern. she looked like this: “It’s not their fault: understand, if you can, / Organa is life, deaf-mute! / His soul, oh, will not disturb / And the voice of his mother herself! ..». This version of the stanza was accepted by G.I. Chulkov ( Chulkov I. P. 246), believing that Tyutchev did not value rhyme very much, and consonance (maybe it will alarm) "is not at all offensive to the poet's ear" (p. 384). However, in Nekrasov modern. the stanza was different: “Not their fault: understand, if you can, / Organa is the life of a deaf-mute! / Alas! the soul in it will not disturb / And the voice of the mother herself! This version was published in the subsequent editions indicated. AT Ed. SPb., 1886 and Ed. 1900 the text of the poem was printed in the same way as in lifetime editions of the 1850s–1860s, but the exclamatory intonations were muted. AT Ed. SPb., 1886 date appeared - "1829", but in Ed. 1900 she's taken off.
Dated to the 1830s; in early May 1836, it was sent by Tyutchev I.S. Gagarin.
Nekrasov noted in connection with this poem: “Love for nature, sympathy for it, a complete understanding of it and the ability to masterfully reproduce its diverse phenomena are the main features of F.T. With full right and full consciousness, he could address those who do not understand and do not know how to appreciate nature with the following energetic verses (here is the full quotation. - VC.). Yes, we believe that the author of this poem understands both the meaning and the language of nature ... "( Nekrasov. S. 213). AT Fatherland zap. S.S. Dudyshkin gave an aesthetic and psychological commentary: “The poet is looking for life in nature, and it responds to his inviting voice as a truly living organism, full of meaning and feeling. The poet devoted a whole poem to this representation of nature, remarkable especially for its original form. At first glance, you will think that he is not talking about what interests him so much, but about what does not interest others at all ... (here is the full quotation. - VC.) <…>Except for the second verse, which is not entirely poetic, which we send back to the author for the necessary revision, the rest of the verses, every single one, will forever remain in literature along with many other expressions of the original poetic feeling. This seemingly harsh reproach of the poet to non-poetic souls is, in fact, full of such love for nature and people! How the author would like to share the feeling that fills him with others who, by their inattention, deprive themselves of one of the purest pleasures! Fatherland app. pp. 66–67). Reviewer from Pantheon(p. 6) does not accept the expression "for them, and the suns, to know, do not breathe."
The reviewer from “World Illustration” (1869. T. I. No. 5. P. 75) concluded that “Tyutchev, par excellence, is a poet of nature, a pantheistic (not in the philosophical sense, but in the sense of a poetic view) view of nature was revealed in him from his very entry into the poetic field:
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.
These four verses explain better than any interpretation essence Tyutchev's poetic warehouse. For the first time in this short note, the concept of "pantheism" is used in relation to the worldview position of the poet.
N. Ovsyannikov (Moskovskie Vedomosti, 1899, No. 212, Aug. 4, p. 4) commented on Tyutchev's nature lyrics in general: “Tyutchev also looks at nature in a peculiar way. What Baratynsky said about Goethe, the same can be said about Tyutchev in relation to his nature: both poets understood the babble of the stream and the voice of tree leaves, the star book was open for both of them, the sea wave spoke to them. Nature for Tyutchev was not a cast, not a soulless face, in it, - he said, - there is a soul, in it there is freedom, in it there is love, in it there is a language. V.S. Solovyov noted the special attitude of the poet to nature: “But for Tyutchev, as I have already noted, it is important and dear that he not only felt, but also thought like a poet - that he was convinced of the objective truth of the poetic view of nature. As if a direct answer to Schiller's funeral hymn to the supposedly dead nature is Tyutchev's poem "Not what you think, nature" (the philosopher quoted the first stanza. - VC.) (Solovyov. Poetry. S. 468). It is not at all higher knowledge, but only their own blindness and deafness that make people deny the inner life of nature: “They do not see and do not hear ...” (three more stanzas are quoted. - VC.) (ibid.).
K.D. Balmont confirmed Solovyov's idea that Tyutchev believes in the spiritualization of nature, and does not mechanically use the traditional poetic device. “Never can this happen to a true pantheist poet. In Goethe, in Shelley, in Tyutchev, the conviction that Nature is a spiritual essence harmoniously merges with their poetic creativity, which depicts living Nature. Tyutchev sincerely believes, moreover, he knows that Nature is not a soulless cast, but a great living wholeness. The stars clearly speak to him, he feels the life of the sea waves, and the storm, stirring the rivers and forests, conducts a secret conversation with him. Those who do not understand the voices of Nature, he rightly calls deaf-mutes, who will not be touched by the voice of their own mother. Unfortunately, the number of these deaf-mutes is excessively large. Only a few epochs and few individuals are characterized by this subtle penetration into the life of Nature and religious merging with her. What is quite simple, easily attainable, even inevitable, in the epoch of cosmogony and legend, becomes almost impossible for the modern mind, full of religious prejudices or the delusions of positive philosophy. Nature has turned for people into a soulless machine serving for utilitarian purposes, into something secondary, subordinate, subordinate" ( Balmont. pp. 84–85). Balmont considers Turgenev's Bazarov to be a characteristic expression of this attitude to nature. In a further presentation of his ideas, the author leads to Tyutchev's thoughts about nature as a "self-sufficient kingdom" ("Nature does not know about the past, / Our ghostly years are alien to Her ...").
V.Ya. Bryusov (see Ed. Marx. S. XXXIII) sees in the poem an expression of Tyutchev’s pantheism and connects it in this way with the program, according to the researcher, “On the road to Vshchizh” (“From the life that raged here ...”): “It is quite clear what a worldview is, first of all leads to a reverent admiration for the life of nature: “It has a soul, it has freedom, / It has love, it has a language! - says Tyutchev about nature. This soul of nature, this language and this freedom Tyutchev seeks to capture, understand and explain in all its manifestations” (p. 26). S.L. Frank: “His (Tyutcheva. - VC.) is only interested in the object, nature, world; all life is perceived by him in the categories of an objective, cosmic order. Nature for him is in itself a complex of living forces, passions and feelings (“not what you think, nature is not a cast, not a soulless face - it has love, it has freedom, it has a soul, it has language"), and by no means a dead material, which obeys the will of the artist and in his hands serves as an obedient means of expressing his own feelings. And, on the other hand, the very spiritual life of a person is felt by him as an area included in the order of objective being and subordination to cosmic forces.<…>It is said about mentally dead people: “the rays did not descend into their souls, spring did not bloom in their chests”<…>All this for Tyutchev is not “images”, not symbolic methods of expressing spiritual moods, but the perception of their true cosmic nature. Frank believes that "that Tyutchev the poet from the very beginning, from time immemorial lives in the soul of the world and is aware of himself only as a link and manifestation of this objective spiritual life ...", the scientist discovers in the poet's poems "cosmization of the soul" ( Franc. S. 10).
Much in the poetics of F. I. Tyutchev at first glance may seem traditional. He was not the only one who compared the phenomena of nature with the spiritual experiences of man. But while for others such a method of comparison or assimilation was just a pictorial means, and, moreover, one of many, with Tyutchev it flowed from the very depths of his worldview and was, without exaggeration, the main one.
The main feature that prevails in Tyutchev's lyrical works is some kind of universal objective feeling, which is of a cosmic nature. At the same time, the feeling has a completely objective and realistic character. Tyutchev felt himself a particle of the world, and therefore considered all the feelings and moods of a person to be a manifestation of cosmic being as such. Life, the phenomena and processes taking place in it, were perceived by the poet as manifestations of nature itself, the cosmos, as the states and actions of the living universal soul. Nature for him is a bunch of passions, forces, feelings, and by no means dead material, obedient to the will of the artist:
Not what you think, nature:
Not a cast, not a soulless face -
It has a soul, it has freedom,
It has love, it has a language...
So Tyutchev begins one of his poems, created in the spring of 1836. This work fully reflects those poetic features that I have previously listed. The poem conveys an extremely lively and direct feeling of nature that reigns in the heart of the poet. It contains neither the mythological images found in Tyutchev's lyrics, nor explicit personifications. However, nature is depicted here as a kind of animated whole. And this is not just an artistic technique. Only a person who sincerely believed in the mysterious life of nature could speak with such passion and conviction about her soul, freedom, love and a special language.
The first stanza is the ideological basis of the poem, the main position that the poet explains and proves with all further content. It is no coincidence that the second and third quatrains are compositionally separated from the rest. With this, the poet makes intonational and thus semantic pauses that separate one thought from another. He invites us to think about what has been said. The lines that follow after the initial stanza draw vivid images of the world around us:
You see a leaf and color on a tree:
Or did the gardener glue them on?
Or the fruit ripens in the womb
The play of external, alien forces? ..
The poet addresses the reader with a rhetorical question. But for what purpose? What idea does he want to convey to us by drawing images of nature? We find out the answer to these questions only at the very end of the poem.
The closed life of the fetus "in the womb" does not give him the opportunity to feel all the beauty and harmony that reigns in nature. He does not realize that the world around him breathes, lives and pleases those who are one with him:
The rays did not descend into their souls,
Spring did not bloom in their chest,
With them, the forests did not speak,
And there was no night in the stars!
For a closed, mind-limited soul, the unique world of colors and sounds is inaccessible. The poet does not separate seasons, natural phenomena and images in quatrains. On the contrary, he tries to combine them in order to give the reader a sense of the fullness and integrity of the single living soul of the world. The surrounding nature is a sunny, radiant day and a starry night, these are seas, rivers and forests, leading a conversation with “unearthly languages”. Listen to the voices of nature, and spring will bloom in your soul. Even a thunderstorm, such a dangerous phenomenon in real life, is transformed in the poem and becomes “friendly”. Gradually, we begin to understand the meaning that the poet put into the figurative content of the poem. The images of nature serve Tyutchev to embody his thoughts about man.
Nature will not reveal its soul to those who do not believe and do not want to believe in it. Not rationalistic thinking, but feeling and contemplation are capable of opening the doors to the secrets of the universe and the universal soul.
Not their fault: understand, if you can,
The body is the life of a deaf-mute!
Soul it, ah! Does not disturb
And the voice of the mother herself! ..
In the last stanza, Tyutchev metaphorically calls nature an "organ". He says that a person for whom the life of the “organ” is silent is not able to be alarmed even by the voice of his mother. The main idea of \u200b\u200bthe poem "Not what you think, nature" is the poet's call to open his soul to the music that sounds in the world around us.
I wonder how this music sounds in the work itself. A subtle master, Tyutchev does not seek to show off external effects and sophistication of form. The poet uses the size traditional for his work - iambic tetrameter. There are frequent metrical interruptions in the poem. However, deviations from the main size are internally justified, justified by meaning. Extra unstressed syllables give the work a rhythmic expressiveness that is in full accordance with the content. There are no unusual words or phrases in the poem. A simple but soft flow of words takes on sound due to the inner meaning of the poem.
The exceptional richness of thought and the perfection of its artistic expression make Tyutchev's poem "Not what you think, nature ..." bright and emotional. A palette of colors, a polyphony of sound, a variety of feelings - this is what the poet is trying to convey to a person.
The poem presented to us by Tyutchev, a wonderful master of philosophical and landscape lyrics, is striking in its sincerity, subtlety of expression of thought and mastery of the poetic gift.
The poem was written in Munich in 1836 (the poet was a diplomat)
Having sent a collection of poems to St. Petersburg, the author was highly appreciated by Pushkin and Zhukovsky.
theme of this poem is the poet's polemic WITH "DEAF PEOPLE" about the attitude to nature, about its perception. The author argues with "deaf people" who do not understand nature.
The poet says:
You see a leaf and color on a tree:
Or did the gardener glue them on?
Or the fruit ripens in the womb
The play of external, alien forces? ..
He calls his opponents YOU, as if opposing himself to them. Further, he generally calls them THEY:
They don't see or hear
And there is no life in the sea waves.
The rays did not descend into their souls,
Spring did not bloom in their chest,
With them, the forests did not speak
And there was no night in the stars!
Poem idea- a different attitude towards nature. If for Tyutchev she is "the voice of her mother herself", then the opponents of the poet are nothing
... do not see and do not hear,
They live in this world, as in the dark,
For them, the suns, to know, do not breathe,
And there is no life in the sea waves.
"Deaf", according to the poet, cannot feel and live in nature, and the lyrical hero of the poem reveals his soul, speaking about nature.
Tyutchev is a philosopher. We see this in the analyzed poem. Recall Turgenev's novel "Fathers and Sons" For Bazarov, "nature is not a temple, but a workshop, and man is a worker in it." Who are these THEY? ".
For Tyutchev, everything is more complicated. The poeticization of nature is brought in his work to the highest point of expression:
It has a soul, it has freedom,
It has love, it has a language...
For a poet, nature is spiritualized.
The artistic means of expression used by the author serve to more fully reveal the theme and idea of the poem.
Rhetorical questions and exclamations make the poet's speech more emotional ( Or did the gardener glue them on? and etc.And there was no night in the stars!)
The poem begins with a rhetorical address that immediately grabs the reader's attention.
The poem is written in iambic tetrameter with cross rhyme (a b a b), assonance is used on, i.a., o. This technique, along with oratorical notes, gives the poem melodiousness and melodiousness. Melody and musicality are also created by alliteration. (Forcing consonant sounds)
The use of obsolete words (womb, tree, face, see, organ) makes the poetic text more sublime and solemn.
The use of anaphora (single-heartedness) creates rhythm and calm.
There are many other artistic devices in this text: personification (it has love, it has a language - about nature, etc.)
Metaphors: (I didn’t consult with them at night
In a friendly conversation, a thunderstorm! or Spring did not bloom in their chest, etc.) Comparisons (
They live in this world as if in the dark,).
Epithets - (soulless. alien, unearthly, etc.)
All these means help the poet to reveal his love for his native LIVING nature.
Fedor Ivanovich is one of the most famous poets in Russian literature, his name is closely connected with the political and life whirlpools.
Fyodor Tyutchev - poet-thinker
There was a thinker in him. He was remembered, despite the fact that he left behind little: several articles, translated and original poems, not all of which are successful. But after all, among others there are pearls of thought, the deepest and most subtle observations, immortal expressions, traces of a grandiose mind and inspiration. All his life he wrote poetry in order to find himself, to better understand his own, so that his reader is also a witness to the spiritual work of the poet in self-knowledge. Fyodor Tyutchev wrote, feeling the need to speak out to himself. He is very sensitive to nature. His dexterity in handling images of the elements is a gift that can be seen with the naked eye. It is pleasant to peer into the poet's poems, they are interesting to study, disassemble - the images contain a lot of hidden meaning, which is why their analysis is so fascinating. “Not what you think, nature ...” - a poem written by Tyutchev in 1836, carries an important thought of the poet. But what? This is what we will try to find out.
Geniuses think the same
Before you begin, you should get acquainted with the events that influenced its appearance and served as inspiration for the poet. Most of all, his thought has similarities with the natural philosophy of Friedrich Schelling, a German thinker. Creative relationships between them have been traced repeatedly, interest in his work arose back in those days when the poet joined the future Slavophiles, who shared the aesthetics and romantic metaphysics of German literature, in particular Schelling. Tyutchev was not a plagiarist, he did not borrow the ideas themselves, he only drew attention to the formulation of the relationship between man and nature, man and the Universe, the spiritualization of the Cosmos and the concept of the world soul. The Russian poet was one of the most faithful followers of the ideas of the German and for a long time adhered to the concepts of Schelling. Also, this poem by F. I. Tyutchev is a protest against Heine's essays, which were published in France and criticized the position of Friedrich, Hoffmann and Novalis and their natural philosophy.
The role of address in a poem
If you pay attention, then the whole poem is built as an appeal to the reader - that's where you should start the analysis. "Not what you think, nature ..." - this is the poet's message to us. If we globalize the phenomenon, then all literature can be called a dialogue between the creator and his reader. If in some works this is not striking, then here Fyodor Tyutchev asks us questions, offering us to find answers to them ourselves and think about questions that may seem eternal. The appeal makes us feel the presence of the poet, as if he is our interlocutor, and at the same time allows us to retire with ourselves, look deep into our inner world and reflect on the proposed topic. We do not see a lyrical subject, but a lyrical hero, in which there are features of Tyutchev himself, because he himself was close to this kind of reasoning. Thanks to the appeal, a dialogue is built between the lyrical hero and the reader, which makes the poem more accessible, enlivens it.
Outlines and main meaning
It will not be complete if you ignore the presence of outflows. Instead, there were stanzas, but for one reason or another they were removed by censorship. After such a procedure, they are usually lost and rarely found. This is what happened with this poem.
However, despite the fact that some pieces are missing, the poem has not lost its meaning. His main idea is the theme of the relationship between man and nature. The importance of a person's ability to feel is emphasized, because if a person is "deaf", then he does not live at all. If for such people nature has neither meaning nor face, then for Tyutchev it is important and is "the voice of the mother herself." It is with the images of nature that the poet expresses his innermost emotions, asks questions that concern him, seeks answers in something primordial. Tyutchev not only examines nature, admiring it, she prompts him to philosophical reflections, in it the poet sees a living organism with his feelings, with his soul and life, the laws of which are not always able to comprehend by a person.
The image of nature in the lyrics of Tyutchev
Nature is one of the main characters in Tyutchev's poems. Moreover, she is often present not as a background for reflection, but as a character, in his poetry nature has a face, she speaks, thinks, feels.
Everything in her seems to Fyodor Ivanovich full of special meaning, which she seeks to convey to a person. But man does not always hear nature. To understand what she says, he needs to listen not with his ears, but with his heart, passing everything through his soul. A poetic analysis (“Not what you think, nature ...”) cannot be built without reference to this image, which plays a key role here. The personification of nature makes it even more like a large living organism, with which each of us is closely connected, but anyone can speak the same language with him, this requires appropriate spiritual education, softness of heart and soul. Nature is diverse: it can be powerful, dangerous, uncompromising, and can be like a beautiful and bright child.
Tyutchev's light poems: what is the secret?
After some poems, a strange aftertaste remains, some kind of heaviness, when thoughts begin to swarm unpleasantly in the head.
But after Tyutchev's lyrics, this is not observed - there is some kind of obscure lightness in it. This does not mean that after it a person does not plunge into reflections, one only poetic analysis (“Not what you think, nature ...”) is already a confirmation of this, because thoughts, reasoning, studying the intricacies of a poem. It’s just that Fyodor Tyutchev invites us to think in understandable images that do not require preparation, they are extremely clear and simple, like everything ingenious. Nature is both a mystery and something that surrounds us from our very birth, what can be closer to us? The spiritual closeness of man and nature is the key that the poet so skillfully operated on. The theme of these relationships is familiar to each of us, it is built on feelings and emotions, and not on something scientific and hard to reach. Each new analysis of Tyutchev's verse brings us closer to nature, which the poet loved, respected and spiritualized so much.
