Why can Tyutchev be called a poet for himself? Poetic world F

Fyodor Ivanovich Tyutchev - greatest poet 19th century. He wrote many poems on various issues. Special attention the poet devoted to the theme of night nature. He was even called "the night soul of Russian poetry." The question arises: “why?” Let’s try to figure it out.

To answer the question posed, you should turn to the poems of Fyodor Ivanovich Tyutchev. Thus, in the work “How good are you, O night sea,” the emphasis is placed on the beauty of the water element precisely at night: “in the moonlight, as if alive... “The lyrical hero admires the sea in the “solitude of the night” and dreams of merging with it, drowning there your soul.

In the poem “the holy night has set in the sky,” there is no description of the delights of the night.

Here it is opposed to the light. A man who may have been unremarkable during the day “stands now like a homeless orphan.” He is immersed in himself, in his thoughts. This work showed the distinctive feature of the night. Only in the dark, according to the author, can one think deeply about some things.

The idea of the previous poem is continued by the work "Insomnia". While in the darkness of the night the monotonous battle of the clock counts down the last minutes of the older generation, during the day the “young tribe” blossoms in the sun. So, we can trace a pronounced antithesis in this poem. Day is life, and night is death.

As a result, having analyzed the works of Fyodor Ivanovich Tyutchev, we came to the conclusion that the dark time of day is represented in his lyrics in all its power. It has a kind of power over the natural world and the human world. The poet spent his whole life striving for the unknown, the unknown. He was looking for answers to eternal questions about the mysteries of the universe, so he turned to the image of the night. After all, it is she who is capable of prompting a person to think and give the key to any solution. There is something magical about it that often attracts creative people like Fyodor Ivanovich Tyutchev.

Updated: 2017-10-07

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Useful material on the topic

In what works of Russian poetry is the theme of the “inexpressible” found and how can they be compared with Tyutchev’s poem? Why does silence seem so significant to the lyrical hero? (Tyutchev “Silentium!”)

In the poetry of F.I. Tyutchev is dominated by philosophical reflections on the eternal and most complex issues human existence: man's place in the Universe, the secrets of birth and death, love, the meaning of existence...

The poet often combines and compares various aspects of existence, therefore his work is characterized by such themes as nature and man, love and nature, man and history.

The most complete philosophical concept of the world and man’s place in it is expressed in the poem “Two Voices.” Let a person be mortal, but he can become on par with the forces of nature, which in this work are personified by the Olympian gods.

Tyutchev in his work departs from the genre canon in lyrics. He often resorted to the genre of miniatures, which was new for that time. Philosophical miniatures have a two-part composition: for example, in the poems “The earth is still sad to look at...”, “Fountain”, various phenomena are compared by analogy (spring and soul, thought and fountain). The “plot” of the poems develops from the specific to the general.

“In the middle of the 19th century, two different attitudes towards art in general were defined in Russian culture. Revolutionary democrats expected from art, first of all, a civic orientation: direct participation in public political struggle, reflecting the most pressing issues of the time. Everything that was outside the sphere of public interest was considered vulgar, including “pure” poetry. extreme point Nekrasov expressed his views on the purpose of art in the well-known formulation: “You may not be a poet, but you must be a citizen.” In contrast to the theory of the art of public service, the theory of “ pure art". According to this theory, art should be free (“pure”) from public life: the poet needs to create pure, sublime images that reflect the world of intimate experiences. Brief formula“pure art”: “art for art’s sake”. F Tyutchev and A. Fet are poets of “pure art”. “For a long time, a completely incorrect idea of Tyutchev as an adherent of the theory of “pure art” was widespread. This idea is in conflict with the facts of the poet’s creative biography and is based on a one-sided understanding of individual motives of his work. It is deeply significant that in his fight against this reactionary theory, the great revolutionary-democratic critics Chernyshevsky and Dobrolyubov never considered Tyutchev among the representatives of “pure” poetry. Moreover, it was Tyutchev who was contrasted by Dobrolyubov with the “pure” lyricism of Feta as a poet whose talent is not revealed in “capturing fleeting impressions from quiet natural phenomena.” ", but to whom "is accessible, in addition, sultry passion, and stern energy, and deep thought, excited not only by spontaneous phenomena, but also by moral issues, the interests of public life." 2. In this assessment of Tyutchev's creativity, Dobrolyubov emphasized the main thing that What distinguished Tyutchev from the adherents of the theory of art for art’s sake was a keen sense of socio-historical reality that permeated his thoughts, a penchant for philosophical generalizations, subtle psychologism and lyrical pathos. Throughout his life, Tyutchev never tired of being an avid spectator of “high spectacles,” persistently trying to unravel the historical meaning of what was happening. The era of “civil storms and anxiety” was the socio-historical soil on which Tyutchev’s lyrical creativity developed. Tyutchev's poetry is full of thought, it is philosophical poetry. However, Tyutchev was first and foremost an artist. He clothed in poetic images only what he himself had changed his mind and felt. The essence of his creative process was perfectly defined by Y. S. Turgenev: “... each of his poems began with a thought, but a thought that, like a fiery point, flared up under the influence of a deep feeling or strong impression; as a result, so to speak, the properties of origin his own, Mr. Tyutchev’s thought never appears naked and abstract to the reader, but always merges with an image taken from the world of the soul or nature, is imbued with it and itself penetrates it inseparably and inseparably."

Pure art is a work about love, about nature, about art. In general, lyrics. And the main themes of Tyutchev and Fet were these themes of poetry. Fet describes natural phenomena in more detail and appears more specific than those of his predecessors. In his poems, Fet describes not only traditional birds that have received the usual symbolic coloring, such as the eagle, nightingale, swan, lark, but also such as the harrier, owl, little scutum, sandpiper, lapwing, swift, etc., and each bird is shown in its originality. Fet is the one who sees in an object what no one would see without his help.
Tyutchev is the discoverer of new imaginative worlds in poetry. The scale of Tyutchev's poetic associations is amazing. The existence of a split human soul is most clearly expressed in his love lyrics.
Signs pure art:
Poems have no plot: lyrical miniatures convey not thoughts and feelings, but the poet’s volatile mood. Art should not be connected to life. A poet should not interfere in the affairs of the poor world. This is poetry for the elite.
This is how their poems were, therefore F Tyutchev and A. Fet are poets of pure art.

At the end of 1858, Turgenev wrote to Fet: “... there is no arguing about Tyutchev: whoever does not feel him, thereby proves that he does not feel poetry.” Pay attention to the accuracy of word usage: You don’t just need to know Tyutchev, you need to know his poetry feel(which, incidentally, applies to art in general).

You have been familiar with Tyutchev’s work for a long time. You, of course, know his wonderful poems: “I love the thunderstorm at the beginning of May...” (“Spring Thunderstorm”), “The snow is still white in the fields...” (“Spring Waters”), “ It’s not for nothing that Winter is angry...,” “The Enchantress of Winter...”, “There is in the primordial autumn...” and other works of the great Russian poet.

Tyutchev is only 4 years younger than Pushkin, but in our perception and in the perception of his contemporaries he is not one of the Pushkin era, but at a later time.

Recognition did not come to Tyutchev immediately. He spent many years on diplomatic service abroad (in Germany), which separated him from participation in the social and literary life of Russia. Moreover, he never considered himself a professional poet, did not seek literary fame, and generally did not show any interest in publishing his poems.

Only in 1836 did Pushkin become acquainted with Tyutchev’s poems, admired them and published in his Sovremennik magazine “Poems sent from Germany” signed “F. T.".

For the first time, the significance of Tyutchev’s poetry was revealed in Nekrasov’s article “Russian minor poets” (1850). Despite the title of the article, Nekrasov boldly classified Tyutchev “as one of the top Russian poetic talents.” A few years later, Dobrolyubov, in his article “The Dark Kingdom,” noted that Tyutchev, unlike Fet, was capable of “sultry passion, severe energy, and deep thought, aroused not only by spontaneous phenomena, but also by moral issues and the interests of public life.” " Indeed, Tyutchev did not shy away from posing social problems. Suffice it to recall his “Tears of men, oh tears of men...” (1850), “Send, O Lord, thy joy...” (1850). Particularly significant in this regard is the poem “These poor villages...” (1855). In it one can hear the poet's sincere sorrow, caused by the consciousness of the people's grief, poverty, and suffering. It is no coincidence that it was highly appreciated by Taras Shevchenko, who wrote in his diary that he read it “with pleasure.”

Until now, Tyutchev’s little poem is often quoted, although there is no unity in the interpretation of its meaning:

Russia cannot be understood with the mind, nor can it be measured with a common yardstick. She has become special - You can only believe in Russia.

However, social issues are still not typical for Tyutchev. He went down in the history of Russian poetry as a wonderful master of philosophical, landscape, and love lyrics.

In principle, the range of lyrical poems is limitless, since all phenomena of life - both natural and social - can cause certain human experiences. In the 19th century Genre divisions in the lyrics were gradually erased, although individual genres continued to develop: elegy, ballad. Instead, the lyrics began to highlight various topics and in this regard, talk about political, philosophical, love, landscape, etc. poems. However, this principle is not entirely accurate, since a variety of motives can be fused together in the same work. Any classification is conditional and approximate. And yet, when we talk about Tyutchev, we first of all highlight in his lyrics philosophical motives, philosophical understanding of man and the world. Intense and deep reflections on the mysteries of existence, the eternal secrets of life and death, on the relationship between man and nature - these are not individual themes or areas of his poetry, but the main principles, the pathos of all Tyutchev’s lyrics, which determines the tone of all his poems.

Tyutchev was a romantic both in his creative method and in his worldview. Hence the poet’s deep conviction that neither the spiritual life of a person nor the secrets of the universe can be revealed with the help of rational, scientific, logical thinking. Therefore, Tyutchev constantly defends the romantic understanding of nature from those who rationally see in it only “a game of external, alien forces”:

They don't see or hear. They live in this world as if in darkness. For them, the suns, you know, do not breathe And there is no life in the sea waves.

This is an excerpt from the poem “Not what you think, nature...”. Indeed, Tyutchev’s nature is not a cast, not a soulless face: it moves, breathes, lives. But her life is complex and contradictory. There, in the mysterious depths, a certain dark element is always agitated, which the poet calls chaos or the abyss. And the entire visible world, reproduced by the external organs of man, is just a product of the primordial and faceless abyss.

Tyutchev’s philosophical worldview is fundamentally tragic, because he, a man, cannot help but be aware of the thirst for life, the transience, even the randomness of his existence, the inevitability of extinction and death. “Tyutchev’s man” (we risk introducing such a phrase instead of the standard “lyrical hero”, since the one on whose behalf the story is being told is both Tyutchev and Not Tyutchev) turns to nature because he realizes the transience of his existence, and the life of nature is more stable than his own life. The idea of eternity, the immutability of nature and the fragility, frailty of human life determines the content and tone of many of Tyutchev’s poems (“Over the grape hills...”, “Clouds are melting in the sky...”, etc.).

Experiencing an almost superstitious horror from coming into contact with night chaos, which is capable of consuming human existence, the poet glorifies life in its beautiful, cheerful daily forms. With delight, with great emotional uplift, he conveys the highest manifestations of the elemental forces of nature. He is especially attracted by thunderstorms, storms, and the spring awakening of fields and forests. His nature is human. This embodied Tyutchev’s conviction in the integrity of the world, in the unity of man and nature (“Everything is in me, and I am in everything...”). The personifications familiar to the poet are not just a poetic device, but become a structure-forming factor, expressing one of the basic principles of awareness and depiction of life.

Tyutchev's poetry is often built on contrasts. Light is opposed to darkness, south to north, day to night, winter to summer or spring. But this is not a mechanical opposition. Tyutchev perceives the world in its unity. This is why he so often turns to transitional states, whether we are talking about the seasons or the time of day (“Spring”, “The day is getting dark, the night is near...”, “Winter is angry for a reason...”). The dialectical perception of reality gives his poems truly philosophical depth.

And yet the tragic worldview, the thought of the fragility, illusoryness, disharmony and even doom of the visible world never left him. Hence the feeling of loneliness, the passionate desire to find a way out of this state and despair from the realization of the impossibility of this. This is why traditional romantic conflict poet And crowds reaches a high voltage. To protect your human individuality, your inner world, his soul from the “crowd”, incapable of either sympathy or understanding, the poet prefers to go into the “spiritual depth”, into his secret thoughts, which are generally impossible to express in words. This is how the poem “Silentium!” (“Silence!”) with the famous line: “A thought expressed is a lie.” Another line from the same poem: “How can someone else understand you” - defines the tragic nature of Tyutchev’s love lyrics, because there is no way to understand each other, there is no harmony in personal relationships, there is no equality in love. Tyutchev’s constant theme of merciless fate, fate in the life of nature, in history, and in love also sounds here.

Throughout its entire creative life Tyutchev wrote short lyric poems, the length of which, as a rule, did not exceed twenty lines. In order to embody in such a brief form significant problems of a philosophical and psychological nature, he had to use new artistic media: bold metaphorical epithets, personifications, interruptions in poetic rhythm, etc. In a number of cases, his poems are structured as an appeal to man or nature, as an excerpt from a conversation. This corresponds to interrogative or exclamatory intonation, which appears already in the initial lines of a number of poems. Material from the site

The words of L. Tolstoy relating to Fet (“lyrical audacity”) can be attributed to an even greater extent to Tyutchev. None of the Russian poets come across such unexpected comparisons, arising from his conviction in the dialectical unity of man and nature: “As the ocean embraces the globe, Earthly life is surrounded by dreams all around” (1830). Nekrasov noted that when reading this poem “you feel an involuntary thrill.” Tyutchev, like no one else in the 19th century, used truly cosmic images. Man in his poetry is surrounded by a burning abyss. No one except Tyutchev dared to compare lightning with the conversation of deaf-mute demons (“The night sky is so gloomy...”, 1865).

Tyutchev, once perceived as a “poet for the few” and valued only by a narrow circle of admirers, has acquired wide popularity these days. He, to an even greater extent than Fet, influenced not only further development Russian poetry, but also on the development of psychological prose. Yes, Tyutchevskaya love lyrics predetermined the coverage of complex intimate feelings among the heroes of Dostoevsky and L. Tolstoy.

“You can’t live without him,” L. Tolstoy said about Tyutchev. How can one explain and comment on such a decisive statement?

Tyutchev's poetic world, modern researcher I.V. Kozlik rightly believes, is based on the search for real human values. It is imbued with genuine humanism, because it combines recognition of the uniqueness of each individual person with sincere sympathy for the fate of the entire human race. The poet posed precisely those problems of the relationship between Man, Humanity, Nature, and the Universe, without understanding which the harmonious existence of people is impossible and which are felt especially acutely in our time.

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