Features of creativity
“Tyutchev was not prolific as a poet (his legacy is about 300 poems). Having started publishing early (from the age of 16), he was published rarely, in little-known almanacs, in the period 1837-47. wrote almost no poetry and generally cared little about his reputation as a poet.” (Mikhailovsky, 1939, p. 469.)
“Melancholy,” testified I.S. Aksakov, - constituted, as it were, the main tone of his poetry and his entire moral being... As often happens with poets, torment and pain became the strongest activators for Tyutchev. The poet, who had been silent for fourteen years, not only returned to literary activity, but it was after the death of E.A. Denisyeva, in his seventh decade, when poets finally run out of steam, created his best poems... He had no “creative ideas,” hours allotted for work, notebooks, drafts, preparations, in general, everything that is called creative work. He didn't pore over poetry. He wrote down his insights on invitations, napkins, postal sheets, in random notebooks, just on scraps of paper that came to hand. P.I. Kapnist testified: “Tyutchev, thoughtfully, wrote a sheet at a meeting of the censor board and left the meeting, leaving it on the table.” If Kapnist hadn’t picked up what he wrote, they would never have known “No matter how hard the last hour is...”. Unconsciousness, intuitiveness, improvisation are the key concepts for his work.” Garin, 1994, vol. 3, p. 324, 329, 336-337, 364.)

Although Tyutchev’s poetry is divided thematically into political, civil, landscape, love lyrics, it is often stipulated that this division is conditional: behind the different thematic layers there is a single principle of seeing the world - philosophical.

F. I. Tyutchev as a poet-philosopher

He has not only thinking poetry, but poetic thought; not a reasoning, thinking feeling - but a feeling and living thought. Because of this, the external artistic form is not put on his thought, like a glove on a hand, but has grown together with it, like a covering of skin with the body; it is the very flesh of thought. (I.S. Aksakov).

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 of this, 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 inextricably. (I.S. Turgenev).

Political lyrics by F. I. Tyutchev

The poet, without whom, according to Leo Tolstoy, “one cannot live,” until the end of his days was and recognized himself as a politician, diplomat, and historian. He was constantly at the center of the political and social life of Europe, the world, Russia, even on his deathbed he asked: “What political news has arrived?” He was a contemporary of the War of 1812, the Decembrist uprising, the “dark seven years” in Russia, the revolutions of 1830 and 1848 years in the West. The politician Tyutchev observed and assessed events, the poet spoke of his time as a fatal era.

Blessed is he who visited this world in its fatal moments!
"Cicero", 1830

At the same time, Tyutchev the poet does not have poems about specific historical events. There is a philosophical response to them, a detachment, a transcendental nature of their vision, the view not of a participant, but of a contemplator of events.

He was not a supporter of revolutions, any coups, and did not sympathize with the Decembrists:

O victims of reckless thought, You hoped, perhaps, That your blood would become scarce, To melt the eternal pole! Barely, smoking, she sparkled

On the centuries-old mass of ice, the iron winter died - and not a trace remained.

Perhaps the poet’s life itself, the eternal desire to combine opposite principles, determined his vision of the world. The idea of ​​duality, the dual existence of man and nature, the discord of the worlds lies at the heart of the philosophical lyrics and thoughts of Tyutchev the poet.

The feeling of a person being on the edge, on the border of two worlds, the expectation and feeling of catastrophe became the main theme of Tyutchev’s philosophical lyrics.

Landscape lyrics

Man and nature, Tyutchev believes, are united and inseparable, they live according to general laws being.

Thought after thought; wave after wave -
Two manifestations of one element:
Whether in a cramped heart, or in a boundless sea,
Here - in captivity, there - in the open -
The same eternal surf and rebound,
The same ghost is still alarmingly empty.
“Wave and Thought”, 1851.

Man is a small part of nature, the universe, he is not free to live according to his own will, his freedom is an illusion, a ghost:

Only in our illusory freedom
We are aware of the discord.
“There is a melodiousness in the waves of the sea,” 1865.

The discord created by man himself leads to the disharmony of his existence, inner world, to the discord between a person and the outside world. Two opposing principles are created: one is the embodiment of darkness, chaos, night, abyss, death, the other is light, day, life. For example, in the poem “Day and Night,” the two-part composition correlates with the main motifs of the poem by alternating day and night, light and darkness, life and death.

But the day fades - night has come;
Came from the world of fate
Fabric of blessed cover,
Having torn it off, it throws it away
And the abyss is laid bare to us
With your fears and darkness,
And there are no barriers between her and us -
This is why the night is scary for us!
"Day and Night", 1839

Tyutchev's lyrical hero is constantly on the edge of worlds: day and night, light and darkness, life and death. He is afraid of the gloomy abyss, which at any moment can open before him and swallow him up.

And the man is like a homeless orphan,
Now he stands weak and naked,
Face to face before a dark abyss.
“The holy night has risen into the sky,” 1848-5s

During the day, even in the evening light, the world is calm, beautiful, harmonious. Many of Tyutchev’s landscape sketches are about this world. There are in the initial autumn
A short but wonderful time -
The whole day is like crystal,
And the evenings are radiant
1857
There are in the brightness of autumn evenings
Sweet, mysterious beauty
1830

At night the darkness comes and reveals itself

The horror of the abyss, death, tragedy

The vault of heaven, burning with the glory of the stars,
Looks mysteriously from the depths, -
And we are floating in a burning abyss
Surrounded on all sides.
“How the ocean envelops the globe,” 1830.

The theme of man as a small particle of the universe, which is unable to resist the power of universal darkness, fate, fate, originates from poetry

Lomonosov, Derzhavin, will be continued in the poems of poets of the early twentieth century..

Enchantress in winter
Bewitched, the forest stands -
And under the snow fringe,
motionless, mute
He shines with a wonderful life.
1852

Love lyrics. Addressees of love lyrics

Addressees of Tyutchev's love lyrics

The poet's first wife was Eleanor Peterson, née Countess Bothmer. From this marriage there were three daughters: Anna, Daria and Ekaterina.

Widowed, the poet married Ernestine Dernberg, née Baroness Pfeffel, in 1839. Maria and Dmitry were born to them in Munich, and their youngest son Ivan was born in Russia.

In 1851 (he was already familiar with Denisyeva), Tyutchev wrote to his wife Eleonora Fedorovna: “There is no creature in the world smarter than you. I have no one else to talk to... Me, who speaks to everyone.” And in another letter: “... although you love me four times less than before, you still love me ten times more than I am worth.”

Two years after the death of her husband, Eleanor Fedorovna accidentally found in her album a piece of paper signed in French: “For you (to sort it out in private).” Next came the poems written in the same 1851:

I don’t know if grace will touch
My painfully sinful soul,
Will she be able to rise up and rebel,
Will the spiritual fainting pass?

But if the soul could
Find peace here on earth,
You would be a blessing to me -
You, you, my earthly providence!..

Tyutchev's love for Elena Denisyeva brought the poet both great happiness and greatest sorrow. Tyutchev's feelings were subject to the laws of his existence and creativity. Love united life and death, happiness and sorrow, and was a roll call of worlds.

The most vividly "double being" of the split human soul expressed in Tyutchev’s love lyrics.

In 1850, 47-year-old Tyutchev met twenty-four-year-old Elena Alexandrovna Denisyeva, a friend of his daughters. Their union lasted for fourteen years, until Deniseva’s death, and three children were born. Tyutchev left a confession of his love in poetry.

"So deep female image“, endowed with individual psychological traits, no one before Tyutchev created in lyrics,” says Lev Ozerov. “By its nature, this image echoes Nastasya Filippovna from Dostoevsky’s “The Idiot” and Tolstoy’s Anna Karenina.”

For fourteen years Tyutchev led a double life. Loving Denisieva, he could not part with his family.

In moments of passionate feeling for Denisyeva, he writes to his wife: “There is no creature in the world smarter than you and I have no one else to talk to.”
The sudden loss of Elena Alexandrovna, the series of losses that followed her death, aggravated the feelings of a milestone, the boundaries of worlds. Love for Denisyeva is death for Tyutchev, but also the highest fullness of being, “bliss and hopelessness,” a “fatal duel” of life and death:

Here I am wandering along the high road
In the quiet light of the fading day
It's hard for my legs to freeze
My dear friend, do you see me?

It's getting darker, darker above the ground -
The last light of the day has flown away
This is the world where you and I lived,
My angel, can you see me?

Genre originality lyrics by F. I. Tyutchev

Literary critic Yu. Tynyanov was the first to notice, and many researchers agreed with him, that F. Tyutchev’s lyrics are not characterized by the division of poems into genres. And the genre-forming role for him is played by the fragment, “the genre of an almost extra-literary passage.”

A fragment is a thought, as if snatched from a stream of thoughts, a feeling - from a surging experience, from a continuous flow of feelings, an action, an action - from a series of human deeds: “Yes, you kept your word,” “So, I saw you again,” “The same thing happens in God’s world.”
The shape of the fragment emphasizes the endless flow, movement of thought, feeling, life, history. But all of Tyutchev’s poetics reflects the idea of ​​universal endless movement, the basis of the poem is often fleeting, instantaneous, fast-flowing in the life of man and nature:

And how, the vision, outside world left.
Century after century flew by.
How unexpected and bright
On the wet blue sky
Aerial arch erected
In your momentary triumph.

Features of the composition lyric poems

Tyutchev’s idea of ​​confrontation and, at the same time, the unity of the worlds of nature and man, the external and internal worlds, is often embodied in the two-part composition of his poems: “Predestination”, “Cicero”, “The earth still looks sad” and many others.

Another compositional device the poet is a direct depiction of feelings - such is Denisiev’s cycle, some landscape sketches.

Sand flowing up to your knees
We eat - it's late - the day is fading,
And pine trees, along the road, shadows
The shadows have already merged into one.
Blacker and more often deep boron -
What sad places!
The night is gloomy, like a stoic animal,
Looks out from every bush!

Lyric style

Tyutchev's lyrics are characterized by extreme compression of the space of the verse, hence its aphorism.

You can't understand Russia with your mind,
The general arshin cannot be measured:
She will become special -
You can only believe in Russia.

November 28, 1866 Under the influence of the classic poets of the 18th century, Tyutchev’s lyrics contain many rhetorical questions and exclamations:

Oh, how many sad moments
Love and joy killed!

Where and how did the discord arise?
And why in the general choir
The soul doesn’t sing like the sea,
And the thinking reed murmurs?

Perhaps, under the impression of his studies with S. Raich, in his poems Tyutchev often refers to mythological, ancient images: “unconsciousness, like

Atlas, crushing the land...", windy Hebe, feeding Zeus' eagle"

When speaking about Tyutchev’s poetic style, the term “pure poetry” will later be used.
(Philosophical lyricism is a rather conventional concept. This is the name given to deep reflections in poetry about the meaning of existence, about the fate of man, the world, the universe, about the place of man in the world. Poems by Tyutchev, Fet, Baratynsky, Zabolotsky are usually classified as philosophical lyricism...)

"Pure poetry"

In all poets, next to direct creativity, one hears doing, processing. Tyutchev has nothing done: everything is created. That is why some kind of external negligence is often visible in his poems: there are words that are outdated, out of use, there are incorrect rhymes, which, with the slightest external finishing, could easily be replaced by others.

This determines and partly limits his significance as a poet. But this also gives his poetry a special charm of sincerity and personal sincerity. Khomyakov - himself a lyrical poet - said and, in our opinion, rightly, that he does not know other poems except Tyutchev's that would serve in the best possible way the purest poetry, which would be so thoroughly, durch und durch, imbued with poetry. I.S. Aksakov.

Characteristics of Tyutchev's creativity, Tyutchev's creativity, features of Tyutchev's creativity, Tyutchev's creativity

INFORMATION ABOUT THE LIFE AND CREATIVE PATH OF F.I. TYUTCHEV

Fyodor Ivanovich Tyutchev (1803-1873) belonged to an old noble family, which has been known since the middle of the 14th century, when Zakhary Tyutchev was sent by Dmitry
Donskoy to the Horde Khan for negotiations. The future poet was born on December 5, 1803 in the village of Ovstug on the estate of his father Ivan Nikolaevich, who received military education, served only briefly, retired and married Countess Ekaterina Lvovna Tolstoy.

Children's and teenage years Tyutchev (1803-1819) were held in Ovstug, in Moscow, where the parents bought a house on an estate near Moscow. His family lived in the atmosphere of the noble culture of their time and preserved folk customs and Orthodox traditions.

The poet, as an adult, recalled “how on Easter night his mother brought him, a child, to the window and together they waited for the first strike of the church bell... On the eve of major holidays... all-night vigils were often served at home, and on the days of family celebrations prayers were sung...

In the bedroom and in the nursery the polished frames of ancestral icons glittered and there was a smell of lamp oil...” Tyutchev was nine years old when it began Patriotic War 1812, he consciously perceived the patriotic upsurge in the country.

The parents gave their son an excellent education. At first it was home schooling that met the requirements of classical gymnasiums (at that time secondary schools
institutions modeled on European ones for children of nobles). The boy's first home teacher was a former serf who received his freedom; he instilled in him a love of reading and nature.

The poet, an expert in antiquity and classicism, Semyon Egorovich Raich, continued his studies, with him Tyutchev studied ancient literature, translated ancient poets, mastered Russian philosophical and didactic (moral) poetry of the 18th century with its idea of ​​\u200b\u200bthe harmony of the moral and the beautiful, read Russian literature of his time.

Raich wrote: “... With what pleasure I remember those sweet hours when it happened, in the spring and summer, living in the Moscow region, the two of us with F.I. They left the house, stocked up on Horace, Virgil or one of the Russian writers and, sitting down in a grove, on a hill, delved into reading and drowned in the pure pleasures of the beauties of the brilliant works of Poetry!..”

In imitation of Horace, Tyutchev wrote an ode “For the New Year 1816” and was accepted as a member of the Society of Lovers of Russian Literature. The young poet adopted the features of the sublime style of philosophical and didactic poetry of classicism, which organically entered his lyrics. At this time, he attends classes at a private boarding school, preparing to enter the university.

At Moscow University (1819-1821) Tyutchev studied in the literature department. Along with family upbringing, university professors who supported the gradual reform of society while maintaining autocracy had a significant influence on the formation of his views.

During his student years, Tyutchev exhibited the religious free-thinking characteristic of youth: he did not observe rituals, composed humorous poems, which upset his parents, but at the same time he studied the book of the French philosopher Pascal, a defender of Christian teaching.

The aspiring poet gets involved in literary life, writes the poem “To Pushkin’s Ode to Liberty,” which relates to his student lyrics, revealing the role of the poet and poetry in society.

After graduating from the university in 1821, Tyutchev served in St. Petersburg, in the Collegium of Foreign Affairs. Visits the society of young literature lovers created by S.E. Raich (Raich’s circle), which unites aspiring poets and writers.

In the circle's classes, philosophy was studied, issues of aesthetics and modern literature were considered, that is, the first quarter of the 19th century, when, in the course of the polemics between classicists and sentimentalists, a new literary direction romanticism.

You can review what you have previously learned about romanticism by having a conversation or by including a prepared student message in the lesson.

Sample conversation questions
— What philosophical idea is the basis of romanticism?
— What does the concept of the principle of romantic dual world mean?
— What trends emerged in romanticism as a literary movement?
— What role, according to the romantics, should literature, in particular poetry, play in the life of society?

Romantic art was based on the idea of ​​the constantly changing God's world, the natural struggle of contradictory principles in nature and in human life. The contrast between the hero and his ideals and the world around him is a fundamental principle of romanticism, which is called the “principle of romantic duality.”

With common leading features, romanticism as a literary movement was divided into two movements: psychological (contemplative) and civil romanticism.

According to the romantics of the psychological movement, the purpose of literature is to bring high values ​​to people. moral ideals, help them see the beauty of the world and choose the path of good in a harsh and difficult life.

According to the romantics of the civil movement (primarily the Decembrist poets), it is necessary to expose the vices of society and change it through struggle. Romantics are looking for ideals among free nature, reflecting on its laws, striving beyond earthly world, are passionate about ancient culture and the historical past.

Diplomatic service abroad (1822-1844) began in June 1822, when Tyutchev arrived in Germany, in Munich, to serve in the Russian diplomatic mission (he was nineteen years old). He gets acquainted with German romanticism, translates poems by Goethe, Heine, communicates with the philosopher Schelling, studies his works on issues
philosophy of nature (natural philosophy).

According to Schelling's teachings, nature, like man, is endowed with consciousness, spiritualized, contradictory; It is impossible to know nature and human society and predict the process of their development - it is revealed only through faith in God. Tyutchev accepts Schelling's teaching; it does not contradict his Christian beliefs.

The poet's philosophical views were associated with pantheism - a doctrine that brings as close as possible and even identifies the concepts of God and nature.

In Munich, the poet-diplomat does not give up social life; he is spoken of as a witty and interesting interlocutor. At this time, he experienced the feeling of his first love for the young Countess Amalia (married Baroness Krüdner). She reciprocated his feelings (the young people exchanged baptismal chains), Tyutchev asked for the girl’s hand in marriage, but was refused by her parents. The poem “K.N.” is dedicated to the experiences of first love. ", filled with a feeling of bitterness.

Your sweet gaze innocent passion full-

I couldn’t, alas! - appease them -

Having survived the drama of failed love, Tyutchev two years later married a widow who had four sons from her first marriage.

Now he has a large family that he takes care of. He studies literature a lot, comprehends the revolutionary movements unfolding in Europe. Living abroad, he does not lose touch with Russia, with friends in his homeland, where his poems are published in various almanacs. In 1836, Pushkin published a selection of Tyutchev’s poems in his magazine Sovremennik, giving them high praise. Pushkin’s death shocked Tyutchev, he wrote the poem “January 29, 1837,” in which he condemned Dantes:

Forever he has the highest hand
Branded a regicide...
Tyutchev said about Pushkin:
You are like my first love,
The heart will not forget Russia...

Life abroad (1820-1830s) was the heyday of Tyutchev’s talent, when the masterpieces of his lyrics were created. Chronologically this is early period creativity of the poet. In 1837, Tyutchev was sent to serve in Italy, in Turin. His wife and children soon follow him; on the way there was a fire on the ship; they escaped, but the wife fell ill and died. Two years later, the poet married for the second time, and in the fall of 1844 he returned to Russia.

Life at home (1844-1873) is connected with service in the Ministry of Foreign Affairs in St. Petersburg, where Tyutchev lives, often visiting Ovstug. In the 1840s, he wrote and published mainly political articles, in which he expressed his attitude towards European revolutions as a disaster (in particular, the French revolutions of 1830, 1848). Tyutchev's main political idea is pan-Slavism - the unity of Slavic peoples around Russia, which can be seen in his socio-political lyrics.

Poems of the 1850-1870s belong to the late period of Tyutchev’s work. The poet cannot accept the views of revolutionary democrats, as well as the young heterodox intelligentsia of the 1860-1870s, who went down in history under the name of nihilists, that is, people who deny social order, the culture and moral ideals they inherited.

During these years, Tyutchev met Elena Alexandrovna Denisyeva; she was twenty-three years younger than the poet. Their mutual passion became known in the world. Denisyeva was no longer accepted in society; her own father abandoned her. Tyutchev continued to stay with his old family, suffering from duality. Denisyeva experienced all the bitterness of humiliation; her three children, born out of wedlock, were considered illegitimate, although they bore their father’s surname, but were assigned to the bourgeois class.

In 1864 Denisieva died of consumption. The poems that reflect the poet’s love drama make up the Denisiev cycle in his love lyrics.

Tyutchev's contemporaries, including A.S. Pushkin, highly valued his work. Nekrasov, who published the poet’s poems in Sovremennik, wrote that “they belong to the naked brilliant phenomena in Russian poetry...”. In the appendix to the magazine, on the initiative of I.S. Turgenev, Tyutchev’s poems were published with an article by the writer, in which they were also given high marks. The poet died in 1873 and was buried at the Novodevichy cemetery in St. Petersburg.

Conclusions
The development of Tyutchev as a poet was influenced by:
— the cultural environment of a family that preserves Orthodox traditions; perception of moderate socio-political views;
— education: study of antiquity, philosophical and didactic poetry of classicism, literature of Russian romanticism;
- life abroad: acquaintance with German romanticism, the philosophical teachings of Schelling, the perception of European revolutions as disasters;
- dramatic events in personal life.

LYRICS F.I. TYUTCHEV

Most of Tyutchev's poems are a fusion of feelings and philosophical thought related to nature, man and society; each of them has a leading theme.
Theme of the poet and poetry
Poetry is not extravagance,
But the highest gift of the Gods...
and spoke the truth to the kings with a smile...
G.R.Derzhavin

In the poem “To Pushkin’s Ode on Liberty” (1820), Tyutchev revealed his vision of the role of the poet and poetry in the life of society. Poetry is compared to the “flame of God” falling on kings:

Blazing with the fire of freedom
And drowning out the sound of chains,
The spirit of Alceus woke up in the lyre, -
And the dust of slavery flew away with her.
Sparks ran from the lyre
And with an all-crushing stream,
Like the flame of God they fell
On the pale foreheads of kings...

Lyre - here: lyric poetry (from the name of the string instrument in Ancient Greece, to the sounds of which songs were performed). Alceus (Alcaeus) is an ancient Greek poet who took an active part in the political struggle.

Muses are the ancient Greek goddesses of poetry, arts and sciences; muse lyric poetry- Euterpe; the muses' pet is the poet. The poet is given the high purpose of reminding tyrants of the moral rules bequeathed by God:
Happy is he who has a firm, bold voice,
Forgetting their dignity, forgetting their throne,
Broadcast to tyrants who are closed-minded
Holy truths are born!

And you are this great destiny,
O pet of the muses, rewarded!

However, the poet should not debunk the authority of the authorities; the beauty of his poetry should soften the cruelty of tyrants, guide citizens to good deeds and deeds, and help them see the beauty of the world. Tyutchev uses, along with the word tyrant, the word autocracy to mean power that does not comply with laws and moral rules:

Sing and with the power of sweet voice
Tenderize, touch, transform
Friends of cold autocracy
Friends of goodness and beauty!
But don’t disturb the citizens
And do not darken the shine of the crown...

The influence of didactic poetry of classicism is noticeable in the poem: archaic, sublime vocabulary, appeals, exclamatory sentences.

Has Tyutchev’s view of the role of the poet and poetry changed over the years?

Poetry
Among the thunder, among the lights,
Among the seething passions,
In spontaneous, fiery discord
She flies from heaven to us -
Heavenly to earthly sons,
With azure clarity in your gaze -
And to the rioting sea
The oil of reconciliation is pouring.
1850

Oil - 1) Olive oil, consecrated by the church for the anointing of Christians (the sign of the cross is made on the forehead). 2) Figurative meaning - a means of consolation, reassurance.

Sample questions and tasks for analysis:

— To what period of Tyutchev’s life and work does the poem belong?
—What two worlds are opposed in the poem? What is the role of poetry in society?
— What figurative and expressive means does the author use to affirm the idea of ​​the poem?
— How does this poem differ from the youthful one “to Pushkin’s ode to Liberty”?

Like many of his predecessors, Tyutchev is confident in the heavenly origin of poetry. The earthly world with wars, revolutions, human passions (“spontaneous, fiery discord”) is contrasted with the heavenly world. The imperfection and sinfulness of the earthly world is emphasized by the anaphora at the beginning of the poem. Poetry is personified (“flies from heaven”, “pouring oil”, endowed with “azure clarity in the gaze”), and Christian symbolism, archaic vocabulary emphasize the high purpose of poetry.

Researchers of Tyutchev's work note that the poem is characterized by a fusion of features of romanticism and classicism; This is an eight-line poem consisting of one syntactic period, that is, one sentence. Tyutchev’s poems, like any poet’s, dedicated to the topic of poetry, reflect his socio-political views.

Socio-political theme
What do laws without morals mean?
what do laws without faith mean...

Expanding this topic in Tyutchev’s lyrics, you can introduce students to fragments of poems in which he responds to historical events of its time
reflects on the international mission of Russia, on the spiritual and moral state of society.

In socio-political lyrics, the poet often uses allegory, ancient images, evangelical symbolism, allusions to historical facts- all this makes it up
peculiarity.

After the Decembrist uprising, Tyutchev wrote the poem “December 14, 1825,” in which he condemns both the rebels who swore allegiance to the Tsar and autocracy for treachery.

The poet speaks about the inviolability of the Russian autocracy and the pointlessness of a group of people speaking against it:

Autocracy has corrupted you,
And his sword struck you down,
And in incorruptible impartiality
This sentence was sealed by the Law...

Impressed french revolution 1830 Tyutchev writes a poem
"Cicero":

The Roman orator spoke
Amid civil storms and anxiety:
“I got up late - and on the road
Caught in the night in Rome
So! but, saying goodbye to Roman glory,
From the Capitoline Heights
You saw it in all its greatness
The sunset of her bloody star! ..
Happy is he who has visited this world.
In his fatal moments -
The all-good ones called him,
As a companion at a feast;
He is a spectator of their high spectacles,
He was admitted to their council,
And alive, like a celestial being,
He drank immortality from their cup.
1830

Cicero - philosopher, orator, politician, supporter of the Senate Republic in Rome (106-43 BC). Night of Rome - civil war, the death of the republic and the establishment of dictatorship, Cicero represented in the form of a black night descending on Rome.

The Capitoline Hill is one of the seven hills on which Rome is located. The All-Good are the gods of Roman mythology.

Tyutchev uses ancient images, historical events Ancient Rome as a reminder of contemporary events, he paraphrases the original words of Cicero: “I grieve that, having set out into life, as if on a journey, with some delay, before the journey was over, I plunged into this night of the republic...” > that is, I became a witness to it death. The poem reflected the poet's views on the revolution as a tragedy in which blood is shed and previous civilizations perish. At the same time, he recognizes the inevitability and majesty of the “fatal moments.”

Pan-Slavism—the unity of Slavic peoples around Russia—became Tyutchev’s main political idea in these years. The poet believed that Russia, as a young country, developing according to its own historical laws, preserving high moral foundations, could stop the pressure of the revolutionary elements and become a stronghold of civilization in the world.

In the poem “The Sea and the Cliff” (1848), using antithesis and allegory, the poet depicts Western revolutions in the form of angry sea waves: And it rebels and bubbles,

Whips, whistles, and roars,

And he wants to reach the stars,

To unshakable heights...

Is it hell, is it hellish power

Under the bubbling cauldron

The fire of Gehenna was spread out -

And turned up the abyss

And put it upside down?

Waves of frantic surf

Continuous wave of the sea

With a roar, a whistle, a squeal, a howl

It hits the coastal cliff, -

But, calm and arrogant,

I am not overcome by the foolishness of the waves,

motionless, unchanging,

The universe is modern,

You stand, our giant!

And, embittered by the battle,

Like a fatal attack,

The waves are howling again

Your huge granite.

But, O immutable stone

Having broken the stormy onslaught,

The shaft splashed out, crushed,

And swirls with muddy foam

Exhausted impulse...

Stop, you mighty rock!

Wait just an hour or two...

Tired of the thunderous wave

To fight with your heel...

Tired of evil fun,

She will calm down again -

And without howling, and without fighting

Under the giant heel

The wave will subside again...

Later, the poet realizes the utopianism of the ideas of Pan-Slavism, but will remain a patriot of his country. His poetic miniature is permeated with a patriotic feeling,
aphorism:

You can't understand Russia with your mind,
The general arshin cannot be measured:
she will become special -
You can only believe in Russia.
1886

Continuing the romantic tradition of Lermontov, Tyutchev writes the poem “Our Century”:

It is not the flesh, but the spirit that is corrupted in our days,
And the man is desperately sad...
He rushes towards the light from the shadows of the night,
And, having found the light, he grumbles and rebels.
We burn with unbelief and are dried up,
Today he endures the unbearable...
And he realizes his death,
And he thirsts for faith, but does not ask for it...
Will not say forever, with prayer and tears,
No matter how he grieves in front of a closed door:
“Let me in! - I believe, my God!
Come to the aid of my unbelief! .."
1851

Sample questions and tasks:

— To what historical time does the lyrical hero belong?
— How does the principle of romantic dual worlds manifest itself?
— What feeling is expressed here, what idea is the author pursuing, what visual and expressive means does he use?

In this poem, Tyutchev, like Lermontov, considers lyrical hero to a certain historical time. In this case, this is a time of social upheaval, when a person loses his spiritual and moral ideals.

Conflicting feelings: lack of faith in God and the thirst for faith, awareness of the fatality of unbelief and at the same time rejection of the saving power of prayer to God - overcome a person. The poet conveys a sense of the tragedy of turning points in history and personal life events associated with Deniseva.

Historical time is perceived deeply personally and philosophically generalized: the vices of society are a consequence of the depravity and sinfulness of man, overcoming which without faith is impossible. Repeated dots at the end of couplets create the impression of an agitated oratorical speech, archaic words give it the character of a sermon.

Poems about nature

The combination of feeling and philosophical thought is characteristic of all of Tyutchev’s works, including poems about nature. The poet endows nature with consciousness, brings together the concepts of nature and God, recognizes the struggle of contradictory principles in nature and human life, and this manifests his philosophical views, the principle of romantic dual worlds.

You can start studying the topic by repeating the poem “Spring Thunderstorm” (“I love a thunderstorm in early May ...”) at a new level.

Sample questions and tasks:

— What pictures appear before the lyrical hero’s gaze, what role does their change play?
— How does the lyrical hero’s interlocutor perceive the thunderstorm?
- What feeling is the poem filled with, what artistic means is it conveyed to the reader?

The theme of the poem is a powerful, life-giving natural phenomenon (thunderstorm), the contemplation of which evokes deep philosophical reflection in the poet. The change in pictures of nature (“rain splashed,” “dust flies,” “rain pearls hung”) and the use of personifications make it possible to perceive a thunderstorm in motion as an animated phenomenon.

This perception is strengthened by the fact that the interlocutor of the lyrical hero compares the thunderstorm with a young goddess ancient mythology Hebe, daughter of the supreme god of the ancient Greeks, 3eus, who controlled all celestial phenomena, primarily thunder and lightning. Attributes of 3eus: eagle (carrier of lightning), aegis (shield as a sign of patronage), scepter (rod decorated with precious stones as a sign of power).

Hebe was depicted as a young girl with a golden cup (cup) in her hands, sometimes feeding the eagle 3evs. Appeal to ancient myth at the end of the poem he emphasizes the idea of ​​the eternity of living, spiritualized nature, the combination of natural and spontaneous forces in it.

The poet uses a definition formed by combining words (“thundering cup”), which is characteristic of ancient Greek poetry (“golden-haired goddess”, “rose-fingered Eos”, that is, the morning dawn). Epithets (“the first thunder of spring”, “young peals”, “bird noise”), comparisons (“as if frolicking and playing”) convey the joyful feeling of the lyrical hero.

The last quatrain echoes the first: the comparison of a thunderstorm with a young, cheerful Hebe spilling a loudly boiling cup enhances the joyful feeling of the beginning of the poem.

In school textbooks, mainly the first quatrain of the poem “Not what you think, nature ...” is given; you can introduce students to its full text, say that the second and fourth stanzas were prohibited by censorship and have not reached our time; outflow,

Not what you think, nature:
Not a cast, not a soulless face -
She has a soul, she has freedom,
It has love, it has language...
You see the leaf and color on the tree:
Or did the gardener glue them?
Or the fetus is ripening 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, even the suns, you 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 chests,
The forests didn't speak in front of them
And the night in the stars was silent!
And in unearthly tongues,
Wavering rivers and forests,
I didn’t consult with them at night
There is a thunderstorm in a friendly conversation!
It's not their fault: understand, if possible,
Organa life of the deaf and dumb!
Soul him, ah! won't alarm
And the voice of the mother herself!
1836

This is a monologue-address of the lyrical hero to his interlocutor and at the same time to all people who have risen above nature and have ceased to see the spiritual principle in it. The poet is convinced that a living soul is hidden in nature, capable of expressing itself in its own language, and every person must learn to understand nature, live in harmony with it, and preserve it. He uses here the image of the Great Mother - a Mediterranean goddess, whose cult united the worship of the goddesses Artemis, Isis and others who personified nature.

This image of ancient mythology is often encountered by the poet, for example in the poem dedicated to A.A. Fet, “Others got it from nature...” (1862):

Beloved by the Great Mother,
Your destiny is a hundred times more enviable -
More than once under the visible shell
You saw it yourself...

Romantic dual worlds in poems about nature are associated with the poet’s idea of
Universe (universe, space).

To the world of mysterious spirits,
Over this nameless abyss,
A gold-woven cover is thrown over
By the high will of the gods.
Day - this brilliant cover -
Day, earthly revival,
Healing for sick souls,
Friend of men and gods!
But the day fades - night has come;
She came - and, from the world of fate
Fabric of blessed cover
Having torn it off, it throws it away...
And the abyss is laid bare to us
With your fears and darkness,
And there are no barriers between her and us -
This is why the night is scary for us!
1839

Sample questions for analysis:

— How is the principle of romantic duality manifested in the poem?
— How does the poet imagine the Universe?
— What mood is expressed in the poem, what vocabulary predominates?

Summarizing student responses:

The Earth is surrounded by a vault of heaven that hides the Universe during the day. Day is a “golden-woven” cover, friendly to people and gods. At night, the depths of space are revealed, mysterious, attractive, and terrifying. Man and earthly nature silent before the elements of space.

The Last Cataclysm
When nature's last hour strikes,
The composition of the parts will be destroyed on earth:
Everything visible will be covered by waters again,
And God's face will be depicted in them!
1829

Sample questions and tasks

— What philosophical views are expressed in the poem?
- Determine the nature of the rhyme.
— What are the names of poems consisting of four poetic lines?

Summarizing student responses:

The poem is written in the form of a maxim - a saying of a moralizing, philosophical nature. Painting " last hour nature" leads to the idea of ​​the naturalness of natural disasters and the Divine creation of life. The poet depicted destroyed nature, ready for a new act of creating life. A complex philosophical thought is clearly and concisely expressed in a miniature of four lines (quatrain) with cross rhyme.

The poet uses mostly neutral vocabulary, but Old Church Slavonic words give the miniature majesty and philosophical depth.

In the poem "Silentium!" (1830) Tyutchev turns to the inner world of man, affirming his originality, as well as the world of nature.

Sample questions and tasks for analysis
- Determine the theme of the poem.
— What philosophical thought follows from comparing the inner world of man with the world of nature?
— How does the poet reveal the problem of the relationship between thought and word?
— What artistic techniques does the poet use to express ideas?

Summarizing student responses:

The human soul, his thoughts and feelings are as incomprehensible as the universe:

Be silent, hide and hide
And your feelings and dreams -
Let it be in the depths of your soul
They get up and go in
Silent as stars in the night...

The poet reveals the theme of the relativity of the expression of thought in words, raised since Antiquity, and the Latin title of the poem helps to realize that this theme goes back centuries. Tyutchev conveys the idea that it is impossible for a person to fully and completely express himself in words and to know the inner world of another person in his words, as well as to comprehend the secret of the inner life of nature:

How can the heart express itself?
How can someone else understand you?
Will he understand what you live for?
A spoken thought is a lie...

According to the poet, a person’s speech characterizes his external manifestation, silence - his inner world. The poem also talks about man's involvement in the natural world and his loneliness in the human world. But unlike the romantics, Tyutchev explains a person’s loneliness not by his conflict with society, but by reasons independent of the individual, that is, objective.

We can't predict
How our word will respond, -
And we are given sympathy,
How we are given Grace...
1869

In this poetic miniature-aphorism, the poet also conveys the idea of ​​​​the impossibility of completeness of expression and hopes for a kind attitude towards his poetic work, at the same time it contains a deep philosophical meaning: a free gift of Divine love - God's grace - descends on a believer.

Love lyrics
Burned love if there was a flame,
I fell, I got up in my age,
Come on, sage! on my coffin there is a stone,
If you are not human...
G.R.Derzhavin

Tyutchev’s love lyrics reflect the psychologically accurately conveyed experiences of the lyrical hero and philosophical understanding love.

The poet dedicates the poem “K.N.” to Amalia Krüdener (1824), filled with a feeling of bitterness after breaking up with a girl.

Your sweet gaze, full of innocent passion,
Golden dawn of your heavenly feelings
I couldn’t - alas! - appease them.
He serves them as a silent reproach...

Later the poem “I remember the golden time...” (1834) was written. It is dedicated to those days of youth when young people fell behind a group of travelers and examined the ruins of an ancient castle on the banks of the Danube. The warmth of memory is combined with the sadness of parting:

I remember the golden time
I remember the dear land to my heart.
The day was getting dark; there were two of us;
Below, in the shadows, the Danube roared.

And on the hill, where, turning white,
The ruins of the castle look into the distance,
There you stood, young fairy,
Leaning on mossy granite,

Touching baby's foot
A century-old pile of rubble;
And the sun hesitated, saying goodbye
With the hill and the castle and you.

Many years later, Tyutchev dedicated another poem to Amalia Krudener, now a secular beauty.

K.B.
I met you - and everything is gone
In the obsolete heart came to life;
I remembered the golden time -
And my heart felt so warm...
Like late autumn sometimes
There are days, there are times,
When suddenly it starts to feel like spring
And something will stir within us, -
So, all covered in a breeze
Those years of spiritual fullness,
With a long-forgotten rapture
I look at the cute features...
Like after a century of separation
I look at you as if in a dream -
And now the sounds became louder,
Not silent in me...
There is more than one memory here,
Here life spoke again, -
And you have the same charm,
And there is the same love in my soul!
1870

Questions and tasks for analysis
- How love theme combined with philosophical generalizations?
—What is the peculiarity of comparisons?

Summarizing student responses:

The initials in the title of the poem are shortened words for “Baroness Krüdener.” It was written after the poet met the Baroness at a resort in Carlsbad in 1870. As in the previous poem, Tyutchev repeats here the expression “golden time” (the epithet “golden” appeared already in the first dedication to young Amalia: “golden dawn of heavenly feelings”). Having revealed “the inner experiences of man, the poet uses comparisons from the natural world. An unexpected meeting with my beloved after many years awakened sacred memories of the past, at the same time it was the return of the fullness of feeling (“love is still the same in my soul”).

Love is forever preserved and reborn in the human soul - this is the author’s general idea. The poet's last meeting with the Baroness took place when the poet was ill in 1873. A recording made in last days his life: “...yesterday I experienced a moment of burning excitement as a result of my meeting with...my Amalia Krudener, who wished to last time to see me in this world and came to say goodbye to me..."

In the poems of Denisiev’s cycle, there is a theme of love as a fatal elemental feeling, the theme of the sacrifice of love, its experiences “in one’s declining years.” “Oh, how murderously we love” (1851) is a poetic monologue dedicated to the tragic contradiction of love, which can become a “terrible sentence of fate” for a loved one and destroy him. The repeated first and last quatrains enhance its tragic sound. The initial phrase became an aphorism.

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At first glance, the life of Fyodor Ivanovich Tyutchev developed quite safely and without conflict. He spent his childhood in the Ovstug estate in the Oryol province, in Moscow and the Troitsky estate near Moscow. He received a home education, and his teacher and first literary mentor was S.E. Rajic, a famous poet and translator, an expert and admirer of antiquity and Italian culture. In 1819-1821 studied at Moscow University and graduated from it in the department of verbal sciences with a candidate's degree. At the end of 1821 he began to serve in the diplomatic service, a year later he was appointed to Munich, where he remained until 1833, then he was transferred to Turin to the position of senior secretary of the Russian mission, and at one time he also served as envoy. In 1839, Tyutchev left his service and went to Switzerland to marry Ernestina Dernberg. Then he moved to Munich and only in the fall of 1844 he returned to Russia, where he again entered service in the Ministry of Foreign Affairs. In 1848 he was appointed to the position of senior censor, and from 1858 he was chairman of the “foreign censorship” committee. This track record, however, reflected only the external side of Tyutchev’s life. The inner one was marked by many dramas, many “explosions of passions.”

Tyutchev's all-consuming passion was politics. Evidence has been preserved that even on his deathbed, having already confessed and received communion, he continued to think about the topic of the day; Almost his last words were: “What details have been received about the capture of Khiva?” Tyutchev's interest in politics cannot be considered amateurish. Tyutchev was one of the most professional and most educated publicists of the so-called “conservative camp” who addressed the problem of “Russia and the West.”

Official at public service and a political publicist by vocation, Tyutchev was a man of the era of romanticism, with its painful search for unattainable harmony, with its individualistic disunity and with its clear awareness of the impossibility of reconciling reason and feeling. Tyutchev behaved exactly like a man of the era of romanticism when he left his service without permission to marry the woman he loved, Ernestina Dernberg. And this wedding took place in early July 1839, when not even a year had passed since the death of his first wife, Eleanor Tyutcheva, whom he sincerely loved and whose death he experienced as a personal tragedy. Tyutchev’s passion for E.A. was extremely dramatic. Deniseva. For fourteen years, from 1850 to 1864, their relationship, which they did not even think of hiding, was perceived in society as certainly scandalous. Having made a serious secular career and always valued his reputation in society, Tyutchev at this time demonstratively neglected secular conventions and customs. The strange duality of Tyutchev's soul, the power that passions had over it, the complexity and even unpredictability of his character were repeatedly noted by contemporaries. His daughter's diary contains highest degree characteristic remark: “He is completely outside of any laws and rules. It’s amazing, but there’s something creepy and unsettling about it.”

The first appearance in print by Tyutchev the poet dates back to 1819, but he was noticed and appreciated quite late. The formation of his literary reputation was beneficially influenced by the publication of extensive collections of his poems by Pushkin (“Sovremennik”, 1836) and Nekrasov (“Sovremennik”, 1854, appendix). During the poet's lifetime, two separate editions of his poems were published - in 1854, edited by I.S. Turgenev, and in 1868, edited by I.F. Tyutchev and I.S. Aksakova.

WORLDVIEW AND LITERARY POSITION. In the second half of the 20s. In the 19th century, when the thinking part of Russian society was intensively searching for new ideological systems, classical German philosophy acquired particular importance. The era of philosophical romanticism was beginning, and Tyutchev shared with future Slavophiles (Shevyrev, Khomyakov, Pogodin) an interest in German romantic metaphysics and aesthetics, in particular Schelling. From Schelling’s philosophy, Tyutchev “borrows,” however, not so much any specific ideas as a general formulation of the question of the relationship between the individual and the universal: the individual personality is opposed by the “world soul,” the spiritualized cosmos, the “universal life of nature”; overcoming this confrontation is conceived as a condition for the individual to realize his creative potential, and the isolation of the individual is considered an absolute evil. It is assumed that the world of the soul is, in principle, commensurate with the world of the Cosmos (Schellingian principle of the identity of “microcosm” and “macrocosm”).

Tyutchev was one of the most consistent Russian romantics, but did not participate in the literary struggle of his time. This was partly due to his biography (he spent many years abroad while in the diplomatic service), and partly to his conscious and consistent orientation towards the role of an amateur in art. In this respect, Tyutchev belongs to the Pushkin era, when the demonstration of amateurism was something more than just literary game. In fact, a romantic author is an amateur in the sense that he is not a craftsman or a pedant; he obeys not the tastes of the crowd, not even this or that literary tradition, but, first of all, a mysterious and inexplicable inspiration, and sometimes personal mystical experience. At the same time, the literary tradition was not rejected or ignored, it was considered as material for free experimentation, and in a variety of areas - for example, themes, lyrical composition, genre.

Russian poet, master of landscape, psychological, philosophical and patriotic lyrics, Fyodor Ivanovich Tyutchev comes from an ancient noble family. The future poet was born in the Oryol province, in family estate Ovstug (today it is the territory of the Bryansk region), November 23, 1803. In terms of his era, Tyutchev is practically a contemporary of Pushkin, and, according to biographers, it is to Pushkin that he owes his unexpected fame as a poet, since due to the nature of his main activity he was not closely connected with the world of art.

Life and service

He spent most of his childhood in Moscow, where the family moved when Fedor was 7 years old. The boy studied at home, under the guidance of a home teacher, famous poet and translator, Semyon Raich. The teacher instilled in his ward a love of literature and noted his gift for poetic creativity, but the parents intended their son to pursue a more serious occupation. Since Fyodor had a gift for languages ​​(from the age of 12 he knew Latin and translated ancient Roman poetry), at the age of 14 he began attending lectures by literature students at Moscow University. At the age of 15, he enrolled in a course in the Literature Department and joined the Society of Lovers of Russian Literature. Linguistic education and the degree of candidate of literary sciences allow Tyutchev to move in his career along the diplomatic line - at the beginning of 1822, Tyutchev entered the State College of Foreign Affairs and almost forever became an official diplomat.

Tyutchev spends the next 23 years of his life serving as part of the Russian diplomatic mission in Germany. He writes poetry and translates German authors exclusively “for the soul”; he has almost nothing to do with his literary career. Semyon Raich continues to maintain contact with his former student; he publishes several of Tyutchev’s poems in his magazine, but they do not find an enthusiastic response from the reading public. Contemporaries considered Tyutchev's lyrics somewhat old-fashioned, since they felt the sentimental influence of poets of the late 18th century. Meanwhile, today these first poems - “Summer Evening”, “Insomnia”, “Vision” - are considered one of the most successful in Tyutchev’s lyrics; they testify to his already accomplished poetic talent.

Poetic creativity

Alexander Pushkin brought Tyutchev his first fame in 1836. He selected 16 poems by an unknown author for publication in his collection. There is evidence that Pushkin meant the author to be a young aspiring poet and predicted a future for him in poetry, not suspecting that he had considerable experience.

Poetic source civil lyrics Tyutchev becomes his job - the diplomat is too well aware of the price of peaceful relations between countries, as he witnesses the building of these relations. In 1848-49, the poet, having acutely felt the events of political life, created the poems “To a Russian Woman”, “Reluctantly and timidly...” and others.

The poetic source of love lyrics is largely tragic personal life. Tyutchev first married at the age of 23, in 1826, to Countess Eleanor Peterson. Tyutchev did not love, but respected his wife, and she idolized him like no one else. The marriage, which lasted 12 years, produced three daughters. Once on a trip, the family had a disaster at sea - the couple were rescued from the icy water, and Eleanor caught a bad cold. After being ill for a year, the wife died.

Tyutchev married again a year later to Ernestine Dernberg, in 1844 the family returned to Russia, where Tyutchev again began climbing the career ladder - the Ministry of Foreign Affairs, the position of Privy Councilor. But he dedicated the real pearls of his creativity not to his wife, but to a girl, the same age as his first daughter, who was brought together by a fatal passion with a 50-year-old man. The poems “Oh, how murderously we love...”, “All day long she lay in oblivion...” are dedicated to Elena Denisyeva and compiled into the so-called “Denisyev cycle.” The girl, caught having an affair with a married old man, was rejected by both society and her own family; she bore Tyutchev three children. Unfortunately, both Denisyeva and two of their children died of consumption in the same year.

In 1854, Tyutchev was published for the first time in a separate collection, as an appendix to the issue of Sovremennik. Turgenev, Fet, Nekrasov begin to comment on his work.

62-year-old Tyutchev retired. He thinks a lot, walks around the estate, writes a lot of landscape and philosophical lyrics, is published by Nekrasov in the collection “Russian Minor Poets”, gains fame and genuine recognition.

However, the poet is crushed by losses - in the 1860s his mother, brother, eldest son, eldest daughter, children from Denisyeva and herself. At the end of his life, the poet philosophizes a lot, writes about the role Russian Empire in the world, about the possibility of building international relations on mutual respect and observance of religious laws.

The poet died after a serious stroke that affected the right side of his body on July 15, 1873. He died in Tsarskoe Selo, before his death he accidentally met his first love, Amalia Lerchenfeld, and dedicated one of his most famous poems, “I Met You,” to her.

Tyutchev’s poetic heritage is usually divided into stages:

1810-20 - beginning creative path. The influence of sentimentalists and classical poetry is obvious in the lyrics.

1820-30 - the formation of handwriting, the influence of romanticism is noted.

1850-73 - brilliant, polished political poems, deep philosophical lyrics, “Denisevsky cycle” is an example of love and intimate lyrics.

Tyutchev is one of the outstanding poets of the nineteenth century. His poetry is the embodiment of patriotism and great sincere love for the Motherland. The life and work of Tyutchev is the national heritage of Russia, the pride of the Slavic land and an integral part of the history of the state.

The beginning of the poet's life

The life of Fyodor Tyutchev began on December 5, 1803. The future poet was born in a family estate called Ovstug. Fyodor Ivanovich began receiving home education, studying Latin and ancient Roman poetry. At twelve years old, the boy was already translating Horace’s odes. In 1817 Tyutchev attended lectures at Moscow University (in the department of Literature).

The young man received his graduation certificate in 1821. It was then that he enlisted and was sent to Munich. He returned only in 1844.

Periodization of creative periods

The first period of creativity of Fyodor Ivanovich Tyutchev lasts from the 1810s to the 1820s. At this time young poet writes his first poems, which in style resemble the poetry of the eighteenth century.

The second period begins in the second half of the 1820s and lasts until the 1840s. The poem entitled “Glimmer” already has an original Tyutchev character, which combines Russian odic poetry of the eighteenth century and traditional European romanticism.

The third period covers the 1850s - 1870s. It is characterized by the creation of a number of political poems and civil treatises.

Russia in the works of Tyutchev

Upon returning to his homeland, the poet took the position of senior censor at the Ministry of Foreign Affairs. Almost simultaneously with this, he joined Belinsky’s circle and became an active participant. Poems are being shelved for now, but a number of articles are being published on French. Among the many treatises there are “On Censorship in Russia”, “The Papacy and the Roman Question”. These articles are chapters to a book called “Russia and the West,” which Tyutchev wrote, inspired by the revolution of 1848-1849. This treatise contains the image of the thousand-year-old power of Russia. Tyutchev describes his Motherland with great love, expressing the idea that it is exclusively Orthodox in nature. This work also presents the idea that the whole world consists of revolutionary Europe and conservative Russia.

Poetry also takes on a slogan connotation: “To the Slavs”, “Vatican Anniversary”, “Modern” and other poems.

Many works reflect that which is inseparable from love for the Motherland. Tyutchev had such faith in Russia and its strong inhabitants that he even wrote to his daughter in letters that she could be proud of her people and that she would certainly be happy, if only because she was born Russian.

Turning to nature, Fyodor Ivanovich glorifies his Motherland, describes every dewdrop on the grass, so that the reader is imbued with the same tender feelings for his land.

The poet always managed to maintain free thoughts and feelings; he did not submit to secular morality and ignored secular decency. Tyutchev's work is shrouded in love for all of Russia, for every peasant. In his poems, he calls it the European “ark of salvation,” but he blames the king for all the troubles and losses of his great people.

Life and work of Tyutchev

The creative path of Fyodor Ivanovich spans more than half a century. During this time, he wrote many treatises and articles, including on foreign languages. Three hundred poems created by Tyutchev are placed in one book.

Researchers call the poet a late romantic. Tyutchev’s work has a special character also because he lived abroad for a long time, because of this the author felt lost and alienated for many years.

Some historians and literary critics conditionally divide the life of Fyodor Ivanovich into two stages: 1820-1840. and 1850-1860

The first stage is devoted to the study of one’s own “I”, the formation of a worldview and the search for oneself in the Universe. The second stage, on the contrary, is in-depth study the inner world of one person. Critics call the “Denisevsky cycle” the main achievement of this period.

The main part of Fyodor Tyutchev's lyrics are poems that are philosophical, landscape-philosophical in nature and, of course, have a love theme. The latter also includes the poet’s letters to his lovers. Tyutchev's creativity also includes civil and political lyrics.

Tyutchev's love lyrics

The 1850s are characterized by the emergence of a new specific character. It becomes a woman. Love in Tyutchev’s work acquired concrete outlines; this is most noticeable in such works as “I Knew My Eyes”, “Oh, How Deadly We Love” and “ Last love" The poet begins to study female nature, strives to understand her essence and comprehends her fate. Tyutchev's beloved girl is a person who is characterized by sublime feelings along with anger and contradictions. The lyrics are permeated with the pain and torment of the author, there is melancholy and despair. Tyutchev is convinced that happiness is the most fragile thing on earth.

"Denisevsky cycle"

This cycle also has another name - “love-tragedy”. All the poems here are dedicated to one woman - Elena Alexandrovna Deniseva. The poetry of this cycle is characterized by the understanding of love as a real human tragedy. Feelings here act as a fatal force that leads to devastation and subsequent death.

Fyodor Ivanovich Tyutchev did not take any part in the formation of this cycle, and therefore there are disputes between literary critics about who the poems are dedicated to - Elena Deniseva or the poet’s wife - Ernestine.

The similarity between the love lyrics of the Denisyev Cycle, which is confessional in nature, and the painful feelings in the novels of Fyodor Dostoevsky has been repeatedly emphasized. Today, almost one and a half thousand letters written by Fyodor Ivanovich Tyutchev to his beloved have survived.

Nature theme

Nature in Tyutchev’s works is changeable. She never knows peace, constantly changes and is always in the struggle of opposing forces. Being in a continuous change of day and night, summer and winter, it is so multifaceted. Tyutchev spares no epithets to describe all its colors, sounds, and smells. The poet literally humanizes it, making nature so close and related to every person. At any time of the year, everyone will find features characteristic of them; they will recognize their mood in the weather.

Man and nature are inseparable in creativity, and therefore his lyrics are characterized by a two-part composition: the life of nature is parallel to the life of man.

The peculiarities of Tyutchev’s work lie in the fact that the poet does not try to see the world around us through photographs or artist's paints, he endows him with a soul and tries to discern in him a living and intelligent being.

Philosophical motives

Tyutchev's work is philosophical in nature. Poet with early years was convinced that the world contained some incomprehensible truth. In his opinion, words cannot express the secrets of the universe; text cannot describe the mystery of the universe.

He seeks answers to questions that interest him, drawing parallels between human life and the life of nature. By combining them into a single whole, Tyutchev hopes to learn the secret of the soul.

Other themes of Tyutchev’s work

Tyutchev's worldview has one more characteristic feature: the poet perceives the world as a dual substance. Fyodor Ivanovich sees two principles constantly fighting among themselves - the demonic and the ideal. Tyutchev is convinced that the existence of life is impossible in the absence of at least one of these principles. Thus, in the poem “Day and Night” the struggle of opposites is clearly expressed. Here the day is filled with something joyful, vital and infinitely happy, while the night is the opposite.

Life is based on the struggle between good and evil, in the case of Tyutchev's lyrics - the light beginning and the dark. According to the author, there is no winner or loser in this battle. And this is the main truth of life. A similar struggle occurs within a person himself; all his life he strives to learn the truth, which can be hidden both in his bright beginning and in his dark one.

From this we can conclude that Tyutchev’s philosophy is directly related to global problems, the author does not see the existence of the ordinary without the great. In every microparticle he considers the mystery of the universe. Fyodor Ivanovich Tyutchev reveals all the charm of the world around us as a divine cosmos.