Fedor Ivanovich Tyutchev

How sweetly the dark green garden slumbers,
Embraced by the bliss of the night blue!
Through the apple trees, whitened with flowers,
How sweetly the golden moon shines!

Mysteriously, as on the first day of creation,
In the bottomless sky, the starry host burns,
Distant music exclamations are heard,
The neighboring key speaks more audibly ...

A veil has descended on the world of day,
The movement was exhausted, labor fell asleep ...
Over the sleeping hail, as in the tops of the forest,
A wonderful nightly rumble woke up ...

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?..

Written in the 1830s, the poem "How sweetly the dark green garden sleeps ..." refers to Tyutchev's early landscape and philosophical poetry. Like many works of Fyodor Ivanovich, it is dedicated to the night and the reflections associated with it. In the first stanza, readers are presented with a description of a beautiful garden. The delight experienced by the lyrical hero of the work is emphasized through the use of exclamatory sentences. At the beginning of the text, Fedor Ivanovich puts more emphasis on the color scheme of the picture being drawn. An important role is played by vivid epithets. The poet calls the apple trees whitened flowers, the moon - golden, the night - blue. Already in the second quatrain, the mood of the text becomes different. There are no exclamation marks. Then they will be replaced by dots and rhetorical questions. The night is full of various sounds. The lyrical hero hears both distant music and the murmur of a key. He gets a sense of the mystery of what is happening. In addition, Tyutchev touches on the theme of the immutability of the eternal laws of life. For thousands of years, the fundamental principles of the world remain the same. The stars in the bottomless sky shine for the hero just as they shone "on the first day of creation."

In the third stanza, the poet seems to go back a little - by the time night falls, when the curtain descends on the daytime world, movement practically stops and a rare person works. If the city is sleeping, then nature at this time is not up to sleep. The hero of the poem notices that a wonderful rumble awakens in the forest peaks, repeating every night. The fourth and final stanza is reserved for philosophical reflections inspired by the observed landscape. Such a technique is typical for the work of Fedor Ivanovich, as Fet wrote: “Tyutchev cannot look at nature without the corresponding bright thought arising in his soul at the same time.” Night for the poet is the time when a person is left alone with the abyss, when chaos wakes up. When darkness sets in, vision deteriorates, but hearing becomes sharper, so the hero of the poem “How sweetly the dark green garden sleeps…” hears so many sounds. Night brings with it a completely different world to earth - a world that is incorporeal, invisible, but really existing. Tyutchev has an ambivalent attitude towards the dark time of the day. On the one hand, a person has the opportunity to comprehend the secrets of being. On the other hand, as mentioned above, he has to face the abyss.

How sweetly the dark green garden slumbers,

Embraced by the bliss of the blue night,

Through the apple trees, whitened with flowers,

How sweetly the golden moon shines!

Mysteriously, as on the first day of creation,

In the bottomless sky, the starry host burns,

Distant music exclamations are heard,

The neighboring key speaks more audibly ...

A veil has descended on the world of day,

The movement was exhausted, labor fell asleep ...

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

Woke up a wonderful, daily rumble ...

Where does this incomprehensible rumble come from? ..

Or mortal thoughts liberated by sleep,

The world is incorporeal, audible, but invisible,

Now it swarms in Chaos at night?..

Other editions and variants

8   In the garden, the fountain, laughing, says...

15 Swarm incorporeal, audible, but invisible,

Autograph - RGALI. F. 505. Op. 1. Unit ridge 19. L. 7.

COMMENTS:

Autographs (2) - RGALI. F. 505. Op. 1. Unit ridge 19. L. 7 and 6.

First post - RA. 1879. Issue. 5. S. 134; at the same time - NNS. S. 40. Then - Ed. SPb., 1886. S. 14; Ed. 1900. S. 86.

Printed according to the second autograph. See "Other editions and variants". S. 250.

In the first autograph there is the name of the poem - "Night Voices". The 7th line here is “Distant music exclamations are heard”, the 8th - “In the garden, the fountain, laughing, speaks”, the 15th - “The disembodied Swarm, audible, but invisible”.

In the second - there is no name, there are discrepancies compared to the first: in the 7th line - the first letter of the second word resembles Tyutchev's "z", and then the word "hall" is obtained, and not "distant" (compare with the spelling "z" in the words "through", "music", "veil", "failed"), in the first autograph there was an obvious "d" and the word "distant" was obtained. In the 8th line of the second autograph - "The neighboring key speaks more audibly", in the 15th - "The world is incorporeal, audible, but invisible." All stanzas are crossed out here. The punctuation marks have been slightly changed. One gets the impression that the poet initially does not differentiate punctuation marks, but denotes any stops, semantic and intonational, with a dash. The whole poem seems to be built on the effect of reticence: exclamations, questions, and statements do not express everything that could be said; besides, Tyutchev’s dots here are not short, but long: after the word “says” there are five dots, after “fell asleep” - four, after “hum” (line 12) - eight, dots are put to the very edge of the page, they are larger here and do not fit; after the word "incomprehensible" there are four dots (also to the very edge of the page), after the words "in the chaos of the night" - five dots, and again to the very edge. The poet aesthetically experiences the world of the unknown, not subject to verbal expression, but it exists, and the dots remind of it.

It was printed everywhere under the title "Night Voices", which corresponded only to an early autograph. In the first three editions, the 7th line is "Ballroom music exclamations are heard." But already in Ed. 1900 -"Distant music exclamations are heard." However, in Ed. Marx again - “Ballroom music exclamations are heard”, but in ed. Chulkov I and in Lyrike I- "Distant Music".

Dated to the 1830s; in early May 1836, it was sent by Tyutchev I.S. Gagarin.

“How sweetly the dark green garden slumbers…” is the sixth poem with the image of chaos: “Vision”, “The Last Cataclysm”, “How the ocean embraces the globe…”, “What are you howling about, night wind?..”, “Dream on sea" - in all but the second and third in this list, the very word "chaos" is used. If in the previous poems about chaos the feelings of anxiety, fear, disintegration of consciousness were accentuated, then in the one under consideration, ideas and experiences of mystery, incomprehensibility of chaos are highlighted, the idea of ​​its incorporeality and irrationality is supported. For the first time, it was in this poem that the image of the “veil” characteristic of Tyutchev appeared; it turns out to be night, descending on the world of the day like a curtain.

Poetry essays

F.I. Tyutchev "How sweetly the dark green garden slumbers"

The beginning of the poem is imbued with a mood of peace, tranquility. The day smoothly flows into the evening: “Movement is exhausted, labor has fallen asleep…”. But then the time of night comes and the mood of the work changes. Everything is permeated with mystery, obscurity. The night has its own energy, its own spirit. At night, another world is felt more sharply - the other world, freed from the world of matter. It is the chaos of the night that brings the lyrical hero into a state of delight before the unknown, the mystery of another world.

To create the image of the night, Tyutchev uses a number of artistic means. For example, metaphors and epithets: “The blue night embraced by the bliss”, “How sweetly the golden month shines”, “the veil has descended ...”, as well as the method of personification: “labor has fallen asleep”.
All this creates an image of a beautiful, mysterious, spiritual and slightly frightening night.

The poems are united by one theme: "the main character" and there, and there - the night. The mood of the works is also similar: peace is replaced by mystery and delight (for Fet: “It seemed as if in a powerful hand / I hung over this abyss”; for Tyutchev: “A wonderful, every-day rumble woke up ... / Where does it come from, this incomprehensible rumble ?. .”) The problems of the works are similar: the world of the night is unknowable, it is self-sufficient, beautiful. In this world, a person is closer to the Creator, he feels himself to be different, free from the shackles of the material world. And at the same time, the world of the night for a person is mysterious, obscure and therefore a little frightening: "I am with fading and confusion ...".

Written in the 1830s, the poem "How sweetly the dark green garden sleeps ..." refers to Tyutchev's early landscape and philosophical poetry. Like many works of Fyodor Ivanovich, it is dedicated to the night and the reflections associated with it. In the first stanza, readers are presented with a description of a beautiful garden. The delight experienced by the lyrical hero of the work is emphasized through the use of exclamatory sentences. At the beginning of the text, Fedor Ivanovich puts more emphasis on the color scheme of the picture being drawn.

An important role is played by vivid epithets. The poet calls the apple trees whitened flowers, the moon - golden, the night - blue. Already in the second quatrain, the mood of the text becomes different. There are no exclamation marks. Then they will be replaced by dots and rhetorical questions. The night is full of various sounds. The lyrical hero hears both distant music and the murmur of a key. He gets a sense of the mystery of what is happening. In addition, Tyutchev touches on the theme of the immutability of the eternal laws of life. For thousands of years, the fundamental principles of the world remain the same. The stars in the bottomless sky shine for the hero just as they shone "on the first day of creation."

In the third stanza, the poet seems to go back a little - by the time the night falls, ... when the veil descends on the daytime world, movement practically stops and a rare person works. If the city is sleeping, then nature at this time is not up to sleep. The hero of the poem notices that a wonderful rumble awakens in the forest peaks, repeating every night. The fourth and final stanza is reserved for philosophical reflections inspired by the observed landscape. Such a technique is typical for the work of Fedor Ivanovich, as Fet wrote: “Tyutchev cannot look at nature without the corresponding bright thought arising in his soul at the same time.” Night for the poet is the time when a person is left alone with the abyss, when chaos wakes up. When darkness sets in, vision deteriorates, but hearing becomes sharper, so the hero of the poem “How sweetly the dark green garden sleeps…” hears so many sounds. Night brings with it a completely different world to earth - a world that is incorporeal, invisible, but really existing. Tyutchev has an ambivalent attitude towards the dark time of the day. On the one hand, a person has the opportunity to comprehend the secrets of being. On the other hand, as mentioned above, he has to face the abyss.

A poem by F. I. Tyutchev “How sweetly the dark green garden slumbers ...”

Tyutchev’s poem “How sweetly the dark green garden slumbers ...”, without a doubt, can be attributed to the romantic and philosophical lyrics so characteristic of the poet: here is the struggle of day and night elements, the theme of earth and sky, eternal questions about faith, the place of man in universe, his: loneliness, the meaning of being. The structure of the poem is also typical of the poet's philosophical works: the first stanzas are a magical description of nature, and the last ones are philosophical reflections.

In the 1st stanza, a wonderful picture of the night garden is created. The author admires, admires the blooming spring nature, sings of its harmony with pathos and passion, and this impression is strengthened by the repeated exclamation "how sweet". But here the epithet "sweet" does not seem cloying, but creates a feeling of enjoying peace, sleep. The picture is highly poetic, replete with inversions and a palette of colors. It could be compared with a painting by Kuindzhi, if it were not for the blueness of the night, which, filling the garden with air, increases the volume, reveals the closed space of the garden and predetermines the transition to the image of the bottomless sky in the 2nd stanza.

In the 2nd stanza, we clearly feel that the night is not complete rest: it is full of sounds, movement. In this stanza, the loneliness of the lyrical hero, who is alone with the mystery of the night, is already felt. This ambiguity, the unknown “as on the first day of creation”, excites and worries the hero. The mystery and anxiety of the night are opposed by the author to the clarity and order of the working day. Here one feels the inconsistency so characteristic of Tyutchev's poetry, a certain paradoxical thought: on the one hand, the author shows that it is at night that everything tends to rest, freezes. On the other hand, life does not stop, in some manifestations it becomes more intense, exclamations and music are heard.

In the 3rd stanza, the main antithesis is: embrace by sleep, the fading of the daytime movement associated with material activity, and the release of spiritual life, mental, “incorporeal” energy, which was enclosed in a bodily shell during the day. The author perceives this escaping energy as a "wonderful, nightly rumble." Perhaps this image arises from intense listening to the sounds of the night. And this rumble nullified the calmness and tranquility of the 1st stanza. If in the 2nd stanza calmness is replaced by excitement, now the mood becomes anxious and confused, such an impression is achieved by numerous assonating “y”: “labor fell asleep”, “wonderful woke up”, “nightly rumble”, “where does it come from, this rumble”.

The poem ends with a rhetorical question. Sleep liberates all the forces of the soul, shackled during the day, not so much light as dark. It is these forces that Tyutchev associates with chaos, the abyss, they cause fear, because they have destructive energy, they threaten light and harmony. And, having asked eternal questions, the author, as it were, stops at the edge of the cliff, offering the reader to look into the raging abyss. Such silence causes a desire to penetrate the author's unspoken thoughts and find his own answer, gives rise to new questions: why do thoughts rush upwards, why are they cramped in a human shell? Probably because such is the nature of man: his soul strives for the unknown, the unknown, looking for an answer to endless questions about the secrets of the universe and hopes to find it there, in the sky, in the endless chaos of the night.

Tyutchev refers to the theme of the night more than once in his poems, and the night rumble also occurs repeatedly, for example:

Shades of gray mixed,

The color faded, the sound fell asleep -

Life, movement resolved

In the unsteady dusk, in the distant rumble ...