A special place in Tyutchev’s poems is occupied by philosophical reflections on man in the world. The poet brought to Russian poetry a fresh theme of the unity of personality with the circulation in nature, with the confrontation between darkness and light in it. Man, in Tyutchev’s view, is a particle of nature, he is “inscribed in it,” dissolved in it and absorbs it into himself. If, for example, in Lermontov’s poem “I go out alone on the road...” the personality is shown to be infinitely lonely and existing on its own, while nature, space, stars live on their own (“a star speaks to a star”), then Tyutchev, these worlds turn out to be fused and indissoluble. The wondrous world with its diversity “lies, developed” before man, “the whole earth is open to him,” “he sees everything and glorifies God,” because he is inseparably fused with this natural world (“The Wanderer”). Many of Tyutchev’s poems are structured in such a way that a landscape sketch imperceptibly turns into thoughts about a person, and the image of a person is given in connection with the recreation of a landscape or natural phenomena.

This is the poem " Yesterday, in the dreams of the enchanted..."(1836). It would seem that the poet intends here to trace the gradual change of evening into the night, and the last - into the early dawn. The late ray of the month evokes earthly sleep, frowning shadows smoothly turn into night darkness, and the darkness gradually dissipates with quiet streams of morning radiance. To more clearly reveal this process of transition from haze to darkness and the subsequent dawn, the poet successfully uses tautology (“the shadow frowned darker”), complex adjectives (“darkly illuminated”), rare compound adverbs (“smoky-light”, “hazy-lily "), conveying transitional states and mixtures of darkness and light; an abundance of verb forms (“ran”, “grasping”, “wriggled”, “climbed”), revealing the dynamics of the appearance of rays and light reflexes; frequent repetitions of the words “here” (they begin five verses) and “suddenly” (this anaphora opens two lines) and, finally, introduces the indefinite pronoun “something”, which becomes the expression of a mysterious animate subject of action. However, this whole process and all these artistic media given in connection with the image of a sleeping woman. It is the last ray of the month that falls on her, “silence has subsided” around her, her sleepy curl is vaguely visible in the darkness; it was a mysterious “something” that grabbed hold of her blanket and then began to wriggle on her bed. Finally, a ray of sunlight touches the face and chest with a “life-giving radiance” and reveals the wonderful silk of the eyelashes. Thus, a person finds himself in the center of all the named natural phenomena, which are interesting to the poet insofar as they reveal the beauty, youth and refreshed strength of a waking woman. Here the pictorial and plastic image achieved by the artist of words was combined with reflection on the place of man in God's animated world.

But the man himself, as Tyutchev portrays him, combines striking contradictions: he is a slave and a ruler, strong and weak, rebellious and patient, powerful and fragile, humble and filled with anxiety. To convey these polar principles (antinomies), the poet uses Pascal’s well-known formula “thinking reed” when applied to the individual, shows how “a mighty whirlwind sweeps people” or “Fate, like a whirlwind, sweeps people” (“From edge to edge, from hail to hail..."), conveys the tragic existence of a person before the abyss of the night:

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 on the horizon...”, 1848-1850)

Man is tragic due to his isolation from his own kind, the power of passions over him, and the short-term nature of his existence. The poet contrasts the frailty of human life with the eternity and infinity of the world (“And the coffin was already lowered into the grave...”). The grave is opened, the remains of a person are lowered into it, and a speech about the Fall is heard:

And the sky is so imperishable and pure,

So limitless above the earth.

The philosophical idea about the dramatic nature of the existence of the individual is also contained in the poem “Silentium"(1830). The first and third stanzas of this three-part composition compare the spiritual life of a person, his feelings and dreams, his “mysteriously magical” thoughts with the outside world, with its external noise, deceptive daylight rays and what is genuine in its truth starry night. The mature wisdom of these extreme stanzas corresponds to their instructive, instructive and imperative intonation: while maintaining your isolation from others, admire the beauty of the universe, listen to the song of the day's rays and the radiance of the night stars. This will establish the necessary and desired connection with the outside world. The second, middle stanza is confessional in nature.

How can the heart express itself?

How can someone else understand you?

Will he understand what you live for?

This is a person’s complaint about his isolation from others, about his loneliness in the human community, where “a thought expressed is a lie,” where the word cannot unite people, a complaint about the isolation of the spiritual world, due to which the person is doomed to his muteness. Bitterness lyrical hero receives the form of questions that follow one after another, and then the form of a mournful aphorism. But in the same stanza there is also a powerful thought about the intensity and richness of a person’s spiritual life, a wealth equal to the whole world, which must not be lost. It is important not to crush your innermost thoughts, not to “disturb” them, just as you can muddy the natural springs gushing out of the ground. The poet’s reflections are warmed by his excitement, which is especially felt in the persistent repetition of the imperative “be silent” (each stanza ends with it) and in the fifth verse, where the iambic tetrameter suddenly breaks and turns into amphibrachic trimeter. The poet develops the motif of the “inexpressible” inherent in Zhukovsky and brings it to its logical conclusion, to the point of demanding instruction. To give special weight and scale to this composition, the poet gives it an unusual Latin name, borrowed from medieval didactics, reinforcing it with the exclamation: “ Silentium!

“Feeling and living thought” (I. S. Aksakov) also pulsates in another philosophical poem by the poet - “ Fountain"(1836). This poem from the mid-30s was sent from Munich to the poet’s friend I. S. Gagarin and seemed to be addressed to him. It begins with the word “look.” Such an invitation to look, examine and admire is not accidental here: the beginning of the poem is devoted to a description of a fountain seen by the poet in one of the cities of Europe. This description is unusual for Tyutchev: it is based not on an instant impression, but on a long look at the phenomenon, on contemplation of it. The poet monitors the change in lighting, color, and the peculiarities of the movement of the water jet. Tyutchev’s observations are very apt, and this is reflected in the word: the fountain resembles a living cloud. This is followed by a new comparison to “wet smoke.” The sun penetrates this cloud, and therefore it becomes “fire-colored” and suddenly begins to resemble a light ray itself. But at the same time, the poet invites not only to look, contemplate, but also to reflect.

Raising his beam to the sky, he

Touched the treasured heights -

And again with fire-colored dust

Condemned to fall to the ground.

This contains a deep in thought, philosophical motive, conveyed by the last of the above lines: “to fall... condemned.” This means that we are talking not only about the beauty of the fountain, but also about some laws that govern it. At the same time, another, hidden, but possible meaning of the lines is revealed - a reflection on a person striving somewhere, ascending - either to a career, or to wealth, or to power, and tragically forgetting what lies behind his feverish activity, efforts, vanity there is something fatally waiting for him. Therefore, he must always remember not only the vanity, but also the great, so as not to miss life itself. However, there may be aspiration upward of another kind - to creative achievements talent, soaring “as a ray to the sky,” and it is sad when he reaches the “cherished height,” but at that moment his path is tragically cut short. This was the case with Pushkin, Lermontov, Belinsky, Venevitinov...

The thought of death is, as it were, picked up by the first significant word of the second stanza: “A water cannon about mortal thought...” But the word “fountain” is replaced by its synonym “water cannon.” This is a sign that we will be talking about the same thing and at the same time about something different. The life of the fountain is compared with the beating of human thought.

And although at the beginning of the second stanza there are no words typical for comparison such as “as if”, “like”, “as”, but parallelism unobtrusively arises. The water cannon correlates with the greatness of reason, tireless knowledge, and rebellious human thought. Like a fountain, this thought also greedily strives towards the sky. The sublime theme brings to life “lofty” words, of which there are so many in this stanza: “sweeps”, “water cannon”, “crumples”, “hand”, “refracting”, “overthrows”. And next to it are several book expressions: “inexhaustible”, “incomprehensible”, “invisibly fatal”. There is an internal echo of the verb “mets” and the root - “met” - in the word “water cannon”, which convey this upward aspiration of thought. However, another motive also arises: for thought there is an “invisibly fatal hand.” There is a limit to human knowledge of the world, its fatal limitations, its obvious constraint and weakness. This skeptical thought is sharp and bold; it echoes Kant’s judgment about the limits of the human mind, deprived of the ability to penetrate into the essence of phenomena, to cognize “things in themselves.” It turns out that not only the word (“ silentium "), but thought also suffers from its “ineffability.” Perhaps there is another consideration here: philosophical thought should not be too divorced from life, from the beginning of the earthly, otherwise it will become an empty game of the mind. This is how, in any case, these lines of Tyutchev are read today.

The line “what an incomprehensible law” reveals another hidden plan of the poem. The poet also reflects on the general laws of life. This theme was typical for Tyutchev’s predecessor, Pushkin. I remember “Once again I visited...”, “Elegy”, his early “Cart of Life”, thoughts about the fate of the earth and people in the poem “To the Sea”. It is clear that we are talking not so much about the physical structure of the water cannon, but about the laws of life that govern everything on earth, about progress, its boundaries and contradictions. It is no coincidence that the literary critic N. Ya. Berkovsky wrote that this poem sets the theme of “Faust”, which means it is about knowledge of the world, about a stopped beautiful moment, about the limits of civilization, bourgeois culture. This is how Tyutchev came to themes with worldwide resonance.

Reflecting on the world around man, Tyutchev often turns to the topic of time, interpreting this concept in an extremely diverse way. The poet is convinced that “the flow of time flows inexorably.” He connects people only for a moment, and then separates them forever (“We are tired on the road...”). Tyutchev thinks a lot about the past and the present, about the memory that connects these categories of time. But the images of day and night and reflections on these phenomena are especially persistent in the poet’s lyrics.

In the poem " Day and night"(1839) the day is conceptualized as a “brilliant cover,” light and golden, hiding the nameless abyss of the world. It brings a certain revival to those born on earth, even healing to a sick soul, but this is only a shell enveloping a gaping hole. On the contrary, the night is notable for the fact that it casts off the “fabric of the blessed cover”, and then the previously hidden abyss “with its fears and darkness” opens. The sharp opposition of these forms of time is reflected in the two-part composition of the poem, its two stanzas connected by the adversative “but”. In philosophical meditation (reflection) " Dreams» (« Like the ocean enveloping the globe...") (1830) clearly speaks of the night as a clear and frank manifestation of the dark elements, which, like waves, beat on their shore. People's knowledge of the world is expanding: they see space, “the vault of heaven, burning with the glory of the stars,” they feel powerful chaos and keenly feel the burning abyss, being surrounded by it on all sides. Using the ancient and classic image of the “chariot of the universe,” Tyutchev in a laconic, eight-line poem “ Vision"(1829), depicting the night time standing between man and world chaos, characterizes it as a manifestation of both unconsciousness and universal silence, but at the same time as a time of revelations and creative insights. For such an interpretation, the author needed ancient images of the powerful Atlas (Atlas), the Muse responding to the poet’s delight, and the Hellenic gods. As a result, the miniature resurrects the spirit of antiquity and, in philosophical language, speaks of the readiness of poetry (the Muse) to meet and capture the amazing phenomena of space and chaos.

Coursework on literature on the topic

Philosophical lyrics of Tyutchev

Saint Petersburg

Introduction

Chapter 1. Literature Review

1 Biography of F.I. Tyutchev

2 Periodization of creativity

3 Philosophy in Tyutchev’s lyrics

3.1 Tyutchev’s thought

3.3 Nature themes

3.4 Chaos theme

3.5 Symbolism of the night

Conclusion

References

Introduction

“Do you know who my favorite poet is?” - Leo Tolstoy once asked. And he himself named Tyutchev. Contemporaries recalled the “amazement and delight” with which Pushkin spoke of Tyutchev’s poems. More than a hundred years ago, N.A. Nekrasov called Tyutchev’s lyrics one of the “few brilliant phenomena” of Russian poetry. “Tyutchev can tell himself that he... created speeches that are not destined to die,” I. S. Turgenev wrote at the same time.

While in the casemate of the Peter and Paul Fortress, Chernyshevsky asked to send him a number of books, including Tyutchev. Mendeleev loved to repeat Tyutchev's poems that were especially memorable to him. M. Gorky said that in difficult years the presence of Tyutchev’s poem “in people,” along with some other works of Russian writers he read for the first time, “washed his soul, cleansing it of the husks of impressions of poor and bitter reality, and taught him to understand what a good book is.”

Fyodor Ivanovich Tyutchev is the first poet in the history of Russian literature, the central theme of whose work is the “ultimate foundations of being”, general questions of the world order. Romantic in its aspirations and ideals, tragic in its worldview, Tyutchev’s work became a necessary link between classical poetry of the first half of the 19th century. (E. A. Baratynsky, A. S. Pushkin, M. Yu. Lermontov) and poetry of the 20th century. Tyutchev’s multifaceted poetry includes philosophical, landscape and love lyrics, political poems, epigrams, translations.

L. Tolstoy, who highly valued Tyutchev, put the following tags in front of his poems: Depth, Beauty, Feeling. These characteristics reflect the predominant theme of the poem. They can serve as a kind of classification of Tyutchev’s lyrics. Depth predominates in philosophical lyrics, beauty predominates in the lyrics of nature, and passionate feeling is most strongly expressed in poems about love. The strength and sharpness of thought were combined in Tyutchev with secret poetic intuition. Tyutchev expressed his deep insights into the essence of the world, the hidden life of nature and the tragic fate of man in aphoristically sharpened thoughts, which were clothed in a clear, concise and poetically perfect form.

Enough large number philologists, literary critics turned to the poetry of F.I. Tyutchev in order to analyze his work, his artistic style. However, the philosophical lyrics of F.I. Tyutchev have not yet been studied well enough. This explains the relevance of this work.

The purpose of this course work consists of analyzing the philosophical layer of F.I.’s poetry. Tyutchev, in identifying the fundamental motives of his lyrics using the example of some of his poems.

The course work poses the following tasks:

1.Consider the biography of the writer, focusing on the formation of his philosophical views;

2.Explore the philosophical lyrics of F.I. Tyutchev and identify some patterns of his work.

The object of research in the course work is the poems of F.I. Tyutchev, which express the philosophical position of the poet.

The work consists of an introduction, two chapters, a conclusion and a bibliography.

Chapter 1. Literature Review

When writing this course work, materials from many researchers were used, such as: Berkovsky N., Bryusov V.Ya., Bukhshtab B.Ya., Kozhinov V.V., Solovyov V.S., Chagin G.V. and others.

An important work for the analysis of Tyutchev’s philosophical lyrics was the book by N. Berkovsky. The author notes that “despite the once established worldview, F.I. Tyutchev creates poems that he has never written before, new in themes and meaning.” This work reveals Tyutchev’s worldview, his philosophical views.

The work of V.Ya. Bryusov was also studied. , who is considered one of the best experts on Tyutchev’s literary activity. His book is the result of Bryusov’s many years of studying the life and work of Tyutchev. The book also talks about Tyutchev’s poetic activity, which helped when writing this course work.

Particularly noteworthy is the work of the historian of Russian literature Bukhshtab B.Ya. His book contains a fairly detailed biography of F.I. Tyutchev, but in addition to this it is given detailed analysis his lyrics. This book became the theoretical basis for this course work.

Book by Kozhinov V.V. talks about the main stages of Tyutchev’s life and work. Since Tyutchev's literary work is inseparably linked with his political activities, his biography is of paramount and truly necessary importance for understanding his poetry. In revealing this deep connection between the history of Russia and the work of F.I. Tyutchev and is one of the main objectives of the book.

Also, to study the poet’s biography, a monograph entitled “F.I. Tyutchev. Biography of the writer" Chagina G.V. It sets out biographical facts from the life of this outstanding Russian word artist. First of all, the monograph is special in that “this book represents the first attempt in Soviet literary criticism to produce a monograph on the life and work of the brilliant Russian poet Fyodor Ivanovich Tyutchev.”

This work contains statements from other critics and writers. It should be noted that a lot of space in the work is devoted to the analysis of the poet’s poems, in particular poems about nature.

The literature studied served as a good basis for course work.

Chapter 2. Philosophical lyrics of Tyutchev

1 Biography of F.I. Tyutcheva

Fyodor Ivanovich Tyutchev was born on November 23, 1803 into a cultured noble family of an old family and average income. He spent his childhood on the family estate of Ovstug, Bryansk district, Oryol province, and in Moscow. The poet S.E. Raich was invited to teach him, who awakened Tyutchev’s love of poetry and widely introduced him to works of world literature.

From 1819 to 1821, Tyutchev studied at Moscow University, in the literature department. In 1822, his service began in the Ministry of Foreign Affairs. Family connections In the same year, he was given a position at the Russian diplomatic mission in Munich - a position, however, a very modest one, for a long time overstaffed, and only in 1828 did he rise in rank - only to junior secretary. Neither then nor after did Tyutchev strive for a career, although he was not rich and the government salary was by no means superfluous in his budget.

Tyutchev spent twenty-two years abroad, twenty of them in Munich. He was married twice, both times to foreigners, women from well-born families. His everyday language both abroad and later, upon returning to Russia, was the language of international diplomacy - French, which he mastered to a fine degree. Tyutchev, with few exceptions, always conducted his extensive correspondence in the same language. He even wrote his journalistic articles in French. One cannot conclude from this that Tyutchev was losing his spiritual connection with Russia. Russian speech became something treasured for him; he did not waste it on the trifles of everyday communication, but kept it untouched for his poetry.

Munich during Tyutchev’s stay there was one of the spiritual centers of Germany and even more so of Europe. In academic Munich, dominance belonged to the aging Schelling and natural philosophers of a similar school. Tyutchev met with Schelling, and, probably, these meetings introduced Tyutchev to German philosophy in a more intimate way.

Tyutchev, according to a contemporary, “zealously studies German philosophy”, immerses himself in the atmosphere of ideas and poetry German romanticism. Undoubtedly, the influence of German poetry and philosophy on his poetic development. This does not mean that it went in a direction completely alien to Russian poetry of that time. Tyutchev is close to the aspirations of the emerging Russian philosophical romanticism, which affected especially the circle of young Moscow writers who called themselves “lyubomudry.” The poets of wisdom - Venevitinov, Khomyakov, Shevyrev - sought to create philosophical lyrics based on romantic metaphysics and aesthetics, mainly based on the philosophy of Schelling.

During his life in Munich (1822-1837), Tyutchev wrote dozens of poems, many of which can rightfully be considered masterpieces of his lyrics.

Tyutchev developed as a poet at the turn of the 1820s-1830s. His first fame in the literary world was brought to him by a selection of twenty-four “Poems sent from Germany,” published in Pushkin’s Sovremennik (1836). The second discovery of Tyutchev as a poet belongs to N.A. Nekrasov, who in 1850 dedicated an article to Tyutchev’s poetry, putting his name next to M.Yu. Lermontov and classifying Tyutchev’s talent “among the top Russian poetic talents.”

Tyutchev’s first book, “Poems,” which was prepared for publication by I.S. Turgenev, N.A. Nekrasov and I.I. Panaev, was published in 1854. It was noticed by critics of various literary trends and brought the poet a well-deserved universal confession.

Already in adulthood, being married for the second time after the death of his first wife, Tyutchev experienced deep, mutual and dramatic love for a young girl - Elena Aleksandrovna Denisyeva, who became the mother of his three children, rejected for this by her family and society.

Their relationship lasted 14 years. Denisyeva died in 1864. Tyutchev's late love lyrics are one of the peaks of not only Russian, but also world psychological poetry. “The Denisiev Cycle” became the poet’s tragic diary. Tyutchev served all his life: he was a diplomat, a high-ranking official - from 1858 he headed the Committee of Foreign Censorship. At the same time, he led an absent-minded social life.

On January 1873, Tyutchev was struck down (cerebral hemorrhage). Lying with half of his body paralyzed, with speech difficult to effort, Tyutchev demanded that acquaintances be allowed in to see him, with whom he could talk about political, literary and other interesting issues and news. He dictated letters and poems. The poems were no longer successful, Tyutchev’s sense of rhythm changed, but the letters were still full of thought and original wit. By spring Tyutchev felt better; he started to leave.

June there was a new blow, a few days later it was repeated. Tyutchev lived for another month. On July 15, 1873, Tyutchev passed away.

2 Periodization of creativity

Tyutchev’s work can be divided into three periods:

1st period - initial, 20s. Tyutchev's poems are conventional and speculative. But already in the 1820s. these signs began to disappear; already here his poetry is imbued with deep philosophical thought. The merging of everything together: love, philosophy, and nature. Tyutchev's poetry never develops in the form of rational, speculative thought.

Oh period - 30s - 40s. Tyutchev continues to remain a poet of thought. Themes of love and nature are still relevant, but something disturbing is woven into them. This alarming beginning with different accents and colors is expressed, in particular, in poems about wandering (for example, “From edge to edge, from city to city...”).

1st period - 50s - 60s. Anxious motives deepen and develop into a gloomy, hopeless perception of life.

Tyutchev's poetry is usually defined as “poetry of thought”, “philosophical poetry”. But this is not at all an individual feature of Tyutchev: this is the most characteristic property of the poetry of the 30s as a whole. And the point here is not only and not so much that the poetry of the era actively sought to absorb philosophical content - the very existence of this generation of Russian cultural figures is embodied mainly in the world of thought. It is quite natural that the lyrical hero of the poetry of the 30s - and, of course, the poetry of Tyutchev - appears, in essence, as a thinker.

In his youth, the poet and diplomat Fyodor Ivanovich Tyutchev developed a historiosophical approach to the problem of relations between Russia and Western Europe. He was associated with the Moscow circle of “lyubomudrov”, but then for a long time (from 1822 to 1844) he was abroad in the diplomatic service. The main body of Tyutchev's poetic works consists of about two hundred verses. Among them there are poems of historiosophical and political content, written mainly in the second half of the 60s - early 70s. From 1840 to 1848, Tyutchev did not write poetry, but published a number of political articles: “Russia and Germany”, “Russia and the Revolution”, “The Papacy and the Roman Question”. Historiosophical theses brought Tyutchev’s position closer to the Slavophiles. At the same time, he has a lot in common with Russian conservatives and with Uvarov.

3 Philosophy in Tyutchev’s lyrics

Turgenev wrote: “If we are not mistaken, each of his poems began with a thought, but a thought that, like a fiery point, flared up under the influence deep feeling or strong impression"

The connection of Tyutchev's poetry with philosophical thought does not, of course, give the right to interpret his poems as links in a certain philosophical system. Something else is needed: to understand what impressions and feelings are behind his sometimes “thesis-like” poetic thoughts.

Tyutchev developed as a poet by the late 20s - early 30s of the 19th century. By this time he had become a man to whom Europe was familiar. He experienced that day in Europe with extraordinary intensity. His spiritual connections with European thought and the literature of that time are undoubted. But Tyutchev did not imitate anyone, and did not compose auxiliary illustrations for any of the authors. He has his own attitude to the subject that gave birth to Western poets and philosophical writers, to the real existence of European peoples. He experienced for himself the Europe of that period, which had recently emerged from the French Revolution and was creating a new, bourgeois order. This order was oppressed by the Restoration, but it itself was oppressed by it. The subject of European thought and poetry of that time was also Tyutchev’s subject and was in his spiritual possession. Therefore, none of the European writers could influence Tyutchev despotically. These writers are accomplices, advisers under Tyutchev, who was spiritually independent to the end. Tyutchev came from a backward country, but this did not prevent him from appreciating and understanding the progress that was taking place in the West, which showed him what the future of Russia would be like. The European experience was half foreign, half home. The course of history suggested that the new civilization was already becoming as relevant for Russia as it was for the West. In the 20s, 30s, and 40s, Tyutchev was occupied with a theme that was as Western as it was national-Russian. Tyutchev was worried about something in Europe that was approaching Russia. Tyutchev in many of his poems, as a lyrical poet, anticipated big topics, social and personal crises, which a quarter of a century later, not earlier than that, the Russian psychological novel of Dostoevsky and L. Tolstoy told the world about.

But Tyutchev not only anticipated in Russian poetry, in Russian literature, he also inherited a lot. His connections with the Russian poetic tradition often go far back in time - he is associated with Derzhavin as a poet of a sublime style who devoted himself to great philosophical themes. At the same time, a characteristic change occurs. The sublime in Derzhavin and his contemporaries is predominantly officially sublime, having received its sanctions from the church and the state. Russian high poetry of the 18th century was, in its own way, philosophical poetry, and in this respect Tyutchev continues it, with the important difference that his philosophical thought is free, prompted directly by the subject itself, while previous poets obeyed provisions and truths that were prescribed in advance and generally known . Only in his political poetry did Tyutchev often return to official dogmas, and this is precisely what harmed it.

3.1 Tyutchev’s thought

For Tyutchev, as I.S. said. Aksakov, “to live meant to think.” It is not surprising, therefore, that his poems are always full of thought. In each of his poems one can feel not only the sharp eye and sensitive ear of the artist, but also the mind of a thinker. In a number of Tyutchev’s poems, thought even comes first. These are his poems in which he sets out his favorite Political Views. At the same time, he developed them in his articles. These views form a coherent system of beliefs about the providential role of the Slavs and Russia in the destinies of the world and are close to the teachings of the Slavophiles of the 40s and 50s. More or less, these views of Tyutchev are exhausted by the belief that Russia will have to bring together “native generations of Slavs” and form a great Orthodox state, welded together by a single faith and “love”. The fulfillment of this expectation is associated with the dark “prophecy” that the capital of the Slavic world should become the “renewed Byzantium”, and its shrine should be the Christian altar, again erected in St. Sophia.

Fall before him, O Tsar of Russia,

And rise as an all-Slavic king! -

exclaimed Tyutchev in 1850, shortly before the Crimean War.

Sometimes Tyutchev’s thoughts are simply expressed in poetic form, and these are undoubtedly the weakest of his creations (“Then only in complete triumph”, “Vatican Anniversary”, “Even if she fell from the face of the earth”, “To the Slavs”). More often, in Tyutchev’s work, thought is clothed in an image, becomes a symbol (“Look how the West is on fire”, “Sea and Cliff”, “Dawn”, “A terrible dream weighs heavily on us”). Some of these poems say even more than the poet himself wanted to say. So, for example, in the images of the “sea” and “cliff” Tyutchev thought to represent the powerlessness of the revolutionary forces before the power of the Russian world. But we have the right to substitute a different, broader content for this poem, and the poems will not lose their charm for us. Tyutchev’s poetic reflections, which are not related to any political events, stand out separately. These are, for the most part, reflections on the age-old mysteries of the world and human life (“I drove through the Livonian fields”, “Twins”, “Two voices”, “There are two forces, two fatal forces”, “Nature is a sphinx”, “ On the way to Vshchizh"). Their stanzas, couplets and individual verses form brilliant aphorisms that have long been included in Russian speech. Who, for example, does not know such expressions as: “A thought expressed is a lie”, “You can only believe in Russia”, “The day will be survived, and thank God”, love is a “fatal duel”, nature “is silent about the days of yore” etc. The same aphorisms are sometimes interspersed in Tyutchev’s poems in which, in general, feeling prevails over thought.

Tyutchev also has two or three poems that, as is usually the case with French poets of the 18th century, rely solely on wit, and among them such a significant one as “I am a Lutheran, I love worship”...

However, no matter how interesting, no matter how remarkable the thoughts that Tyutchev directly expresses in his poems, the thoughts that he thought through, consciously, - much more remarkable is the innermost content of his poetry, which he put into the poems “unconsciously”, i.e. the power of secret creative intuition. These are the underground springs that feed his poetry, which give it its indestructible strength and its incomparable beauty. Tyutchev in his articles, in his rational poems, is a witty, although slightly paradoxical, dialectician; in the metaphysical basis of his poetry, Tyutchev is a deep thinker, independently, from his own point of view, illuminating the secrets of the world.

3.2 The main motives of Tyutchev’s poetry

One of the main motives of Tyutchev's poetry is the motive of fragility, the illusory nature of existence. The ghostly past, everything that was and what no longer exists. “Ghost” is Tyutchev’s usual image of the past: “The past, like the ghost of a friend, We want to press to our chest,” “O poor ghost, weak and vague, Forgotten, mysterious happiness,” “ghosts of better days past.” From “living life” only memories remain, but they inevitably fade and disappear: the soul is condemned to “watch as all the best memories die out within it.” “Everything without a trace.”

But the present, since it ceaselessly, inexorably and completely disappears, is also just a ghost. The symbol of the illusory nature of life is a rainbow. She is beautiful, but this is just a “vision”:

Look - it has already turned pale,

Another minute, two - and then what?

Gone, somehow gone completely,

What do you breathe and live by?

(“How unexpected and bright...”)

This feeling is sharply expressed in poems such as “Day and Night,” where the entire external world is perceived as a ghostly “veil thrown over the abyss”:

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!

This image is repeated even in detail. The day moves away like a veil, goes away “like a vision”, “like a ghost” - and a person remains in true reality, in boundless loneliness: “He is abandoned to himself”, “In his soul, as in an abyss, he is immersed, And there is no outside support, no limit.” The element of the “night soul” is revealed, the element of primordial chaos, and a person finds himself “Face to face before the dark abyss”, “And in the alien, unsolved, night He recognizes the ancestral heritage.”

To understand Tyutchev’s poetry, it is essential that behind such poems there is a feeling of loneliness, isolation from the world in which the poet lives, a deep disbelief in the powers of this world, and the consciousness of the inevitability of its death.

The motif of loneliness is also heard in Tyutchev’s poems about a homeless wanderer alien to the world (the poems “The Wanderer”, “Send, Lord, your joy...”), about living in the past and abandoning the present (especially “My Soul, Elysium of Shadows...” ."), about a generation driven out of life and “carried into oblivion” (these are not senile laments; cf. the poem of the 20s “Insomnia”, the poem of the 30s “Like a bird, the early dawn ...”), about aversion to noise, to the crowd, a thirst for solitude, silence, darkness, silence.

Behind Tyutchev’s “philosophical” thoughts there is a feeling of deep loneliness, and the desire to break out of it, to find a way to the world around us, to believe in its value and strength, and despair from the realization of the futility of attempts to overcome one’s rejection, one’s isolation in one’s own self.

The feeling of the illusory nature of the world and one’s isolation from the world is opposed in Tyutchev’s poetry by an ardent “passion” for the earth with its pleasures, sins, evil and suffering and, above all, a passionate love for nature:

No, my passion for you

I can’t hide it, Mother Earth!

Spirits of ethereal voluptuousness,

Your faithful son, I do not thirst.

What is the joy of paradise before you,

It's time for love, it's time for spring,

Blooming bliss of May,

Ruddy light, golden dreams?..

3.3 Nature themes

The starting point of Tyutchev’s worldview, it seems to us, can be found in his significant poems written “On the Road to Vshchizh”

Nature does not know about the past,

Our ghostly years are alien to her,

And in front of her we are vaguely aware

Ourselves are just a dream of nature.

One by one all your children,

Those who accomplish their useless feat,

She equally greets her

An all-consuming and peaceful abyss.

Only nature as a whole has true existence. Man is just a “dream of nature.” His life, his activity is just a “useless feat.” This is Tyutchev’s philosophy, his innermost worldview. This broad pantheism explains almost all of his poetry.

It is quite clear that such a worldview, first of all, leads to reverent admiration for the life of nature.

She has a soul, she has freedom,

It has love, it has language! -

Tyutchev speaks about nature. Tyutchev strives to capture, understand and explain this soul of nature, this language and this freedom in all its manifestations. With amazing insight into the secrets of elemental life, Tyutchev depicts “The First Meeting of Spring”, and “Spring Waters”, and “Summer Evening”, and “The Gentleness of Autumn Evenings” and “A Forest Bewitched by the Enchantress in Winter”, and “Morning in the Mountains”, and “Hazy Afternoon”, and “Night Voices”, and “Bright Moon”, and “The First Thunderstorm”, and “Roar of Summer Storms”, and “Rainbow”, and “Rain”, and “Lightning”... All in nature for Tyutchev it is alive, everything speaks to him “in a language understandable to the heart,” and he pities those with whom the forests are silent, before whom the night is silent, with whom the thunderstorm does not confer in a friendly conversation.

Tyutchev's poems about nature are almost always a passionate declaration of love; Tyutchev considers it the highest bliss available to man to admire the diverse manifestations of natural life. His cherished desire is “in deep inactivity,” all day long to “drink the warm spring air” and “watch the clouds in the high sky.” He claims that before the “blooming bliss of May” the very joys of paradise are nothing. He talks about the “touching charm” of autumn evenings, about the “charming mystery” of a June night, about the “dazzling beauty” of a snow-covered forest. About spring he exclaims: “what can resist the breath and the first meeting of spring!”, about the rainbow - “what a delight for the eyes!”, about the thunderstorm - “I love the thunderstorm at the beginning of May!”, about the sea - “how good you are, oh sea night!” .

3.4 Chaos theme

From the opposition of the powerlessness of the individual and the omnipotence of nature, a passionate desire arises, even for a brief moment, to look into the secret depths space life, into that soul of hers, for which all humanity is just a momentary dream. Tyutchev calls this desire the thirst to “merge with the boundless” (“What are you howling about, night wind”).

Hence Tyutchev’s attraction to the “ancient native chaos.” This chaos seems to him to be the primordial beginning of all existence, from which nature itself grows. Chaos is the essence, nature is its manifestation. All those moments in the life of nature when “behind the visible shell” one can see “herself,” her dark essence, are dear and desirable to Tyutchev.

Such moments most often come in the darkness of the night. During the day, the element of chaos is invisible, since between man and it there is a “golden woven cover”, a “golden carpet” - all manifestations of the life of nature.

At night this carpet falls and the man stands -

Tyutchev adds: “That’s why the night is scary for us.” But for him, the night was rather tempting. He was sure that at night, “in the silence of the world’s silence,”

Living chariot of the universe

Rolls openly into the sanctuary of heaven.

At night you can spy on the mysterious life of chaos, because at night the “magic boat” of dreams and dreams comes to life in the pier and takes us away - Into the immensity of the dark waves.

But chaos can be seen not only in external nature: it lurks in man himself. Just as the night, like a thunderstorm, like a storm, like the night wind, Tyutchev was attracted to everything chaotic that sometimes reveals itself in our souls, in our lives. In all the main manifestations of our life, in love and in death, in dreams and in madness, Tyutchev discovered the sacred beginning of chaos for him.

For Tyutchev, love is not a bright, saving feeling, not a “union of soul with a dear soul,” as “the legend says,” but a “fatal duel” in which -

We are most likely to destroy,

What is dear to our hearts.

For Tyutchev, love is always passion, since it is passion that brings us closer to chaos. Tyutchev’s eye preferred the “gloomy, dim fire of desire” to the “fiery, wonderful game”; in him he found “a stronger charm.” Tyutchev calls passion itself “violent blindness” and thus, as it were, identifies it with the night. Just as a person becomes blind in the darkness of the night, so he becomes blind in the darkness of passion, because both here and there he enters the realm of chaos.

At the same time, death for Tyutchev, although he was inclined to see in it a complete and hopeless disappearance, was filled with a secret temptation. In his wonderful poem “Twins,” he puts death and love on the same level, saying that both “bewitch the heart with their insoluble mystery.”

And there are no more beautiful couple in the world,

And there is no more terrible charm

Her betraying heart.

Chaos, i.e. negative infinity, the yawning abyss of all madness and ugliness, demonic impulses rebelling against everything positive and proper - this is the deepest essence of the world soul and the basis of the entire universe. The cosmic process introduces this chaotic element into the limits of the universal order, subordinates it to reasonable laws, gradually embodying in it the ideal content of being, giving this wild life meaning and beauty. But even when introduced within the boundaries of the world order, chaos makes itself felt through rebellious movements and impulses. This presence of a chaotic, irrational principle in the depths of being imparts to various natural phenomena that freedom and strength, without which there would be no life and beauty itself. Life and beauty in nature are the struggle and triumph of light over darkness, but this necessarily presupposes that darkness is a real force. And for beauty it is not at all necessary that the dark force be destroyed in the triumph of world harmony: it is enough that the light principle takes possession of it, subjugates it, to a certain extent embodies in it, limiting but not abolishing its freedom and confrontation. Thus, the boundless sea in its stormy waves is beautiful, as a manifestation and image of rebellious life, a gigantic impulse of elemental forces, introduced, however, within unshakable limits, which cannot dissolve the general connection of the universe and disrupt its order, but only fill it with movement, brilliance and thunder:

How good you are, oh night sea,

It’s radiant here, gray-black there!

In the moonlight, as if alive,

It walks and breathes and shines.

In the endless, in the free space

Shine and movement, roar and thunder...

The sea is bathed in a dim glow,

How good you are in the solitude of the night!

You are a great swell, you are a sea swell!

Whose holiday are you celebrating like this?

The waves rush, thundering and sparkling,

Sensitive stars look from above.

3.5 Symbolism of the night

About F.I. Tyutchev developed the idea of ​​being the most nocturnal soul of Russian poetry. “...he never forgets,” writes S. Solovyov, “that all this bright, daytime appearance of living nature, which he is so able to feel and depict, is still only a “golden cover”, a colored and gilded top, and not the base of the universe." Night is the central symbol of F.I.’s poetry. Tyutchev, concentrating in himself the separated levels of being, the world and man.

Night in Tyutchev’s works goes back to the ancient Greek tradition. She is the daughter of Chaos, who gave birth to Day and Ether. In relation to the day, it is primary matter, the source of all things, the reality of a certain initial unity opposite principles: light and darkness, sky and earth, “visible” and “invisible”, material and immaterial. Night, going back to the ancient tradition, does not represent an exclusively ancient mythological understanding of it, but appears in an individual Tyutchev style refraction. Here is one example:

The holy night has risen into the sky,

And a joyful day, a kind day,

She wove like a golden shroud,

A veil thrown over the abyss.

And like a vision, the outside world left...

And the man is like a homeless orphan,

Now he stands weak and naked,

Face to face before a dark abyss.

He will be abandoned to himself -

The mind is abolished and thought is orphaned -

In my soul, as in an abyss, I am immersed,

And there is no outside support, no limit...

And it seems like a long time ago past dream

Now everything is bright and alive for him...

And in the alien, unsolved, night

He recognizes the family heritage.

The basis of the universe, the stirring chaos, is terrible for a person because at night he is “homeless”, “weak”, “naked”, his “mind is abolished”, “thought is orphaned”... The attributes of the external world are illusory and untrue. A person is defenseless in the face of chaos, in front of what lurks in his soul. The little things of the material world will not save a person in the face of the elements. The night reveals to him the true face of the universe, contemplating the terrible stirring chaos, he discovers the latter within himself. Chaos, the basis of the universe, is in the human soul, in his consciousness.

lyrics Tyutchev night

Conclusion

Tyutchev lived for almost seventy years. He was a contemporary of major historical events, from the Patriotic War of 1812 to the Paris Commune. His first poetic experiments were published at a time when romanticism was gaining dominance in Russian literature; his mature and late works were created when realism was firmly established in it. The complexity and inconsistency of Tyutchev's poetry were determined both by the complexity and inconsistency of the historical reality that he witnessed, and by his difficult attitude towards this reality, by the complexity of his very human and poetic personality.

F.I. Tyutchev was one of the most insightful poet-philosophers in Russian literature. His poems cannot be called lyrics in their pure form, because they express not just the feelings of the lyrical hero, but, above all, the philosophical system of the author-thinker.

Tyutchev's poetry belongs to the most significant, most remarkable creations of the Russian spirit.

Tyutchev’s poetry can be approached from three different points of view: you can pay attention to the thoughts expressed in it, you can try to identify its philosophical content, you can, finally, dwell on its purely artistic merits. From all three points of view, Tyutchev's poetry deserves the greatest attention. .

In this work, we dwelled in detail on the philosophical lyrics of F.I. Tyutchev, tracing the development philosophical thought poet.

Tyutchev was one of the most remarkable Russian people. But, like many Russian people, he was not aware of his true calling and place. He chased after something for which he was not born, and not only did he not value his true gift at all, but he valued it in the wrong way and not for what was most amazing about it.

References

1.Aksakov I.S. Biography of Fyodor Ivanovich Tyutchev. M., 1886.

2.Berkovsky N. Tyutchev F.I. Complete collection of poems. - L., 1987.

.Bryusov V.Ya. F.I. Tyutchev. The meaning of his creativity Bryusov V.Ya. Collected works: In 7 volumes - T. 6. - M.: Khudozh. lit., 1975.

.Bukhshtab B.Ya. Russian poets: Tyutchev. Fet. Kozma Prutkov. Dobrolyubov. - L., 1970.

.Davydova O. Symbol and symbolic reality as the basis of the poetic world of F.I. Tyutchev. 2006.

.Kovtunova I.I. Fedor Tyutchev Kovtunova I.I. Essays on the language of Russian poets. - M.: Azbukovnik, 2003.

.Kozhinov V.V. Tyutchev History world literature: In 9 volumes. - M.: Nauka, 1989. - T. 6.

.Lotman Y. “Russian philosophical lyrics. Creativity of Tyutchev". Course of lectures.

.Malinov A.V. Philosophy of history in Russia. - St. Petersburg: Publishing and trading house " Summer garden", 2001.

.Pigarev K. F. I. Tyutchev. Collection op. in 2 volumes. - M.: Pravda, 1980.

.Soloviev V.S. Poetry F.I. Tyutcheva // Soloviev V.S. Literary criticism. - M.: Sovremennik, 1990.

.Turgenev I.S. Complete collection of works and letters. Works, vol. 5, publishing house of the USSR Academy of Sciences, M-L. 1963.

.Tyutchev F.I. Full collection poems. L., 1987.

.Khodasevich V.F. About Tyutchev // Khodasevich V.F. Shaking Tripod: Favorites. - M.: Soviet writer, 1991.

.Tsarkova T.S. Russian poetic epitaph of the 19th-20th centuries: sources, evolution, poetics.

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We depend on days and nights

From things, from people and weather.

We are separated from our souls,

We haven't seen her for many years.

We rattle the metal of chains,

We go under the dark arches.

We are from the whole nature, from all,

They took slavery without taking freedom.

(K. Balmont)

In Russian literary criticism and criticism, the lyrics of Fyodor Ivanovich Tyutchev are usually called philosophical. This definition has long become an axiom. And indeed many lyrical works the poet's works are like small philosophical treatises in which he, in an extremely concise form, gives answers to the “eternal” questions of human existence. However, there are significant discrepancies among researchers of his work regarding the relationship of Tyutchev’s worldview to one or another philosophical direction. So some consider him a follower of Schelling, others - a pantheist, some - a natural philosopher, and some - a mystic. In addition, there are opinions about the presence of Slavophile and Christian motives in Tyutchev’s lyrics.

This diversity of opinions is explained, in my opinion, by two main reasons. Firstly, each of the researchers perceived Tyutchev’s work through the prism of their own worldview and understanding of the world, and, secondly, this perception was, it seems to me, very fragmentary. However, there is nothing surprising in this: Tyutchev’s work is so deep and original that to fully understand it (if this is at all possible) will require many more years and a lot of research work.

In this article I will try to discover and identify the general idea in Tyutchev’s lyrics, which represents the basis of his poetic worldview. In addition, I will try to draw attention to those nuances in the poet’s lyrics that have escaped the attention of other researchers.

It should be noted that Russian philosophical poetry of the 19th century was a living, real and significant fact that had a huge influence on the development of literature of that time. The philosophical lyrics of this period present a completely special picture of the world. This period is interesting because figures of Russian culture begin to feel the crisis of their time. And, above all, this is expressed in poetry as the most subjective form of creativity. It should also be noted that after the death of Pushkin and Lermontov, prose works predominate in Russian literature. As for poetry, it is presented extremely sparingly, but it is precisely in it that the spirit of the era, the premonition of an impending catastrophe, is reflected.

One of Tyutchev’s first truly mature works is the poem “Glimpse,” most likely written in 1825.

Did you hear in the deep twilight

The airy harp is lightly ringing,

When it's midnight, inadvertently,

Will the slumbering strings be disturbed by sleep?..

Those amazing sounds

Then suddenly freezing...

Like the last murmur of agony,

Those who responded to them went out!

Every breath of Zephyr

Sorrow explodes in her strings...

You will say: angelic lyre

Sad, in the dust, across the skies!

Oh, how then from the earthly circle

We fly with our souls to the immortal!

The past is like the ghost of a friend,

We want to press you to our chest.

As we believe with living faith,

How joyful and bright my heart is!

As if by an ethereal stream

The sky flowed through my veins!

But, ah! We were not the ones who judged him;

We soon get tired in the sky, -

And no insignificant dust is given

Breathe divine fire.

With barely a minute's effort

Let's interrupt the magical dream for an hour

And with a trembling and vague gaze,

Having risen, we will look around the sky, -

And with a burdened head,

Blinded by one ray,

Again we fall not to peace,

But in tedious dreams.

The main idea of ​​"Glimpse" is the involvement of man in two worlds - spiritual and physical. It is this duality of man that creates that monstrous gap in his consciousness and being, which is extremely difficult to overcome. The author does not specify who is to blame for the emergence of this schism, but makes it clear that the “culprit” still exists:

But, ah! not for us tried;

We soon get tired in the sky, -

AND not given insignificant dust

Breathe divine fire.

Someone “didn’t judge”, someone “it wasn’t given”. Here we can clearly see the idea of ​​the existence of some fatal force that does not allow a person to go beyond the boundaries of his earthly world. It is obvious, in my opinion, the connection of this poem with Christian ideology. This is evidenced by the phrases “angelic lyre”, “divine fire” present in the text, as well as the comparison of a person with “dust”. This is also evidenced by the general pessimistic mood of the poem, which perceives the human world as a vale of suffering and troubles.

Tyutchev develops the same idea about an unknown, inevitable force that limits human freedom and capabilities in his other work, “The Fountain,” dated 1836.

Look like a living cloud

The shining fountain swirls;

How it burns, how it fragments

There's damp smoke in the sun.

Raising his beam to the sky, he

Touched the treasured heights -

And again with fire-colored dust

Condemned to fall to the ground.

About mortal thought water cannon,

O inexhaustible water cannon!

What an incomprehensible law

Does it urge you, does it bother you?

How greedily you strive for the sky!..

But the hand is invisible and fatal

Your stubborn beam refracts,

Throws down in splashes from a height.

The same “invisibly fatal hand” is present, as we see, here too.

So, man is not given the opportunity to rise, to rise above his earthly existence. But even more terrible is that here on earth, he is also completely dependent on some external force. Tyutchev clearly shows this in the poem “From region to region, from city to city...”.

Fate, like a whirlwind, sweeps people apart,

And whether you are happy or not,

What does she need?.. Forward, forward!

The wind brought us a familiar sound:

My last forgiveness to love...

There are many, many tears behind us,

Fog, obscurity ahead!..

"Oh, look around, oh, wait,

Where to run, why run?..

Love is left behind you

Where in the world can you find the best?

Love is left behind you

In tears, with despair in my chest...

Oh, have pity on your melancholy,

Spare your bliss!

The bliss of so many, so many days

Bring it to your memory...

Everything dear to your soul

You are leaving on the way!..”

This is not the time to call out the shadows:

And this is such a gloomy hour.

Departed image the more terrible,

What was dearer to us in life.

From edge to edge, from city to city

A mighty whirlwind shakes people,

And whether you are happy or not,

He won’t ask...Forward, forward!

The poem was written between 1834 and April 1836. It strikes with a feeling of hopelessness and despair. We will no longer find clearly expressed Christian motives in it, but we can detect some connection with the philosophy of Schopenhauer. We see here a picture of a lonely and powerless person confronting the powerful force of this cruel world. And man is doomed to always obey this force. Even such a seemingly catastrophic poem as “The Last Cataclysm” does not make such a difficult impression:

When nature's last hour strikes,

The composition of the parts of the earth will collapse:

Everything visible will be covered by waters again,

And God's face will be depicted in them!

This poem is directly related to Christian eschatology. The doctrine of the End of the World is presented by the poet in an extremely concise and accessible form. The presence of Christian ideas in some of Tyutchev’s poems has given rise to some researchers to argue that his lyrical pantheism is not an extra-Christian, but an intra-Christian stage of ascension to God. One can hardly agree with this. But one cannot but agree with Vladimir Kantor that “the image of the end of the world amazes with its epic calm, it is given as a kind of statement of fact, as a kind of knowledge cosmic fate of the Earth."

Other literary scholars argue that the motives of uncertainty, disappointment in life, and the fragility of existence are decisive in Tyutchev’s work. “The idea of ​​the fragility of everything in life is one of the leitmotifs of Tyutchev’s poetry.” Bukhshtab is echoed by L.A. Ozerov: “The premonition of “fatal moments” was so great in Tyutchev that it fills and permeates all of his lyrics, from political to landscape...” Despite the fact that this opinion was expressed by such authoritative literary scholars, I would like to disagree with it. Yes, in Tyutchev’s creative heritage there are a number of poems similar to those given above, but they do not at all determine the general line of the worldview and creativity of the great poet.

It should be noted that Christian motifs are often found in Tyutchev’s poetry. Here is one example:

Above this dark crowd

Of the unawakened people

When will you rise, Freedom,

Will your golden ray shine?..

Your ray will shine and revive,

And sleep will disperse the fogs...

But old, rotten wounds,

Scars of violence and insults,

Corruption of souls and emptiness,

What gnaws at the mind and aches in the heart, -

Who will heal them, who will cover them?..

You, the pure robe of Christ....

Another similar poem is “Our Century.”

It is not the flesh, but the spirit that is corrupted in our days,

And the man is desperately sad...

He is rushing towards the light from the shadows of the night

And, having found the light, he grumbles and rebels.

We are scorched by unbelief and dried up,

Today he endures the unbearable...

And he realizes his death,

And he longs for faith... but doesn’t 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!..”.

True, most of the works in which there is a connection with Christian doctrine are quite strongly politicized:

This is not the first time a rooster has crowed;

He screams lively, cheerfully, boldly;

The month has already gone out in the sky,

The stream in the Bosphorus turned red.

The bells are still silent,

And the east is already blushing;

The endless night has passed,

And soon a bright day will come.

Get up, Rus'! The hour is near!

Get up for Christ's service!

Isn’t it time to cross yourself,

Ring the bell in Constantinople?

Ring the bell,

And the whole East announced them!

He calls you and wakes you up, -

Get up, take courage, take up arms!

Dress your chest in the armor of faith,

And with God, mighty giant!..

O Rus', great is the day to come,

Ecumenical day and Orthodox!("Dawn") .

At one time, a lot was said about the belonging of Tyutchev’s work to the romantic movement. This opinion was based not only on the connection between the poet’s worldview and Schelling’s philosophy, but also on the image of two worlds, characteristic of the romantics, which was occasionally found in his poems. Here is one example:

Cold September raged

Rusty leaves fell from the trees,

The dying day was smoking,

Night was falling, the fog was rising.

And everything for the heart and for the eyes

It was so cold and colorless

It was so sad and unrequited, -

But someone’s song suddenly rang out...

And with some kind of charm,

The fog curled up and flew away,

The vault of heaven has turned blue

And again he shone with radiance...

And everything turned green again,

Everything turned to spring...

And I had this dream,

While your bird sang to me.(“N.I. Krolyu”).

This opinion does not seem convincing enough to me. In my opinion, Tyutchev’s poetry also differs from the works of the romantics (Zhukovsky, for example), as well as from the work of the avant-garde. In addition, the author’s memories of former, better times should not always be taken as an image of the “two worlds”:

There is no time here, mighty and beautiful,

The magical forest was noisy and green, -

Not a forest, but the whole world various,

Filled with visions and miracles.

The rays shone through, the shadows trembled;

The noise of birds did not drown in the trees;

Fast deer flashed through the thicket,

And the hunting horn cried from time to time.

At crossroads, with speech and greetings,

Towards us, from the semi-darkness of the forest,

Enveloped in some wonderful light,

A whole swarm of familiar faces flocked in.

What a life, what a charm

What a luxurious, bright feast for the senses!

We imagined alien creatures

But this wonderful world was close to us.

And here we go again to the mysterious forest

We approached with the same love.

But where is he? Who lowered the veil

Lowered her from heaven to earth?

What is this? Ghost, some kind of spell?

Where are we? And should you believe your eyes?

There is only smoke here, like the fifth element,

Smoke—dreary, endless smoke!

Here and there they stick out right through the naked

Ugly stumps to fire,

And they run along the burnt branches

With an ominous crackling white lights...

No, it's a dream! No, the breeze will blow

And the smoky ghost will take with it...

And now our forest will turn green again,

Still the same forest, magical and native.("Forest")

Some researchers also note the similarity of certain images and even entire works of Tyutchev with the poetry of the Symbolists. Naturally, this means that the Symbolists borrowed themes from Tyutchev that were close to their worldview. And indeed, such a poem as “The merry day was still roaring...” is very similar to some of Blok’s works.

The cheerful day was still noisy,

The street shone with crowds -

And the evening clouds' shadow

Flew across the light roofs -

And sometimes they heard

All the sounds of a blessed life, -

And everyone merged into one formation,

A hundred-sounding, noisy – and inarticulate.

Tired of spring bliss,

I fell into involuntary oblivion...

I don’t know if the dream was long,

But it was strange to wake up...

The noise and din everywhere has died down

And silence reigned -

Shadows walked along the walls

And a half-asleep flicker...

Stealthily through my window

The poor luminary looked

And it seemed to me that it

My slumber was guarded.

And it seemed to me that I

Some kind of peaceful genius

From a lush golden day

Carried away, invisible, into the kingdom of shadows.

In addition, images of chaos, the abyss, twilight, darkness are fundamental in the work of many symbolists.

Contemporaries knew and appreciated F.I. Tyutchev is so smart, wonderful educated person, interested in politics and history, a brilliant conversationalist, and author of journalistic articles. After graduating from university, he spent more than 20 years in the diplomatic service in Germany and Italy; later - in St. Petersburg - he served in the Department of Foreign Affairs, and even later - as a censor. No one paid attention to his poetry for quite a long time, especially since the author himself treated his poetic creativity absent-mindedly, did not publish his poems, and did not even like to be called a poet. And yet, Tyutchev entered the history of Russian culture precisely as a lyric poet, or more precisely, as an author of philosophical lyrics, a lyricist-philosopher.

Philosophy, as you know, is the science of the laws of life and existence. Lyrics are not science, not journalism, it is art. It is designed to express feelings, to evoke experiences in the reader - this is its direct assignment. But a lyric poem can awaken thought, lead to questions and reasoning, including strictly philosophical ones.

"On questions of existence in history Russian literature thought by many poets, and yet among Russian classics Tyutchev has no equal. Of the prose writers next to him, they call F.M. Dostoevsky, there is no one to put among the lyricists,” says critic K. Pigarev. .

F.I. Tyutchev emerged as a poet in the 20-30s of the 19th century. This is a period of intense philosophical quest, which was reflected primarily in philosophical poetry. Romanticism, dominant in the literature of the early 19th century, began to sound in a new way in the works of M.Yu. Lermontov, was enriched with deep philosophical content. Many literary scholars define such poetry as philosophical romanticism.

He declared himself in the works of the wise men. The work of the poets of N.V.’s circle went in the same direction. Stankevich: himself, V.I. Krasova, K.S. Aksakova, I.P. Klyushnikova. The poets of Pushkin’s galaxy E.A. paid tribute to this type of romanticism. Baratynsky, N.M. Languages. Related motifs entered the work of F.N. Glinka. But philosophical romanticism received its most valuable and artistically original expression in the poetry of F.I. Tyutcheva.

“Philosophical romanticism updated the problematics, poetics and stylistics of artistic creativity, proposing almost a system of natural philosophical and cosmogonic ideas, images and ideas from the sphere of philosophy and history,” writes Candidate of Philosophical Sciences S.A. Dzhanumov..

The lyrical “I” was replaced by the lyrical “we”; in poetry, the “lyrics of self-knowledge” stands out, in which, analyzing their own mental states, poets draw general conclusions about the romantic, sublime organization of the human soul. “Traditional “night poetry” acquired new depth, incorporating the philosophically significant image of CHAOS; a picture of the worldview was created in poetry.”

The rise of Russian philosophical thought of that time was indicated in the works of V.G. Belinsky and A.I. Herzen, in the works of A.S. Pushkin and E.A. Baratynsky, M.Yu. Lermontov and F.I. Tyutchev, in poetry and prose of the wise.

Philosophical poets are members of the Philosophy Society. Particularly famous among them were Dmitry Vladimirovich Venevitikov, Alexey Stepanovich Khomyakov, Stepan Petrovich Shevyrev. They directly correlated poetry with philosophy. In their opinion, poetry can directly reproduce the philosophical picture of the world. They began to widely use philosophical terms and concepts in poetry. However, their lyrics suffered from excessive rationalism and rationality, since poetry was deprived of independent tasks and served as a means for conveying philosophical ideas.

This significant drawback was overcome by the brilliant Russian lyricist F.I. Tyutchev.

The source of philosophical lyrics are general questions that trouble a person, to which he strives to find an answer.

For Tyutchev, these are questions of extreme depth and comprehensiveness. Its scale is man and the world, the Universe. This means that everyone private fact personal life is conceived and assessed in relation to universal human, world existence. Many were dissatisfied with life at the beginning of the 19th century, with their time, they were afraid of the new and grieved over the passing era. “Tyutchev perceived not the change of eras, but the whole world, existence as a whole, as a catastrophe. This catastrophic nature, the level of tragedy in Tyutchev’s work is unprecedented.”

F.I. Tyutchev's lyrics contain a special philosophical concept of the world, expressing its complexity and the contradictory nature of reality. Tyutchev was close to the ideas of the German idealist philosopher Friedrich Schelling about a single World Soul, which finds expression in nature and in the inner life of man.

We know that Tyutchev was closely acquainted with Schelling. Like many of his contemporaries in Russia, he was interested in the natural philosophical ideas of the German idealist. Moreover, some key images of the lyrics resemble those image-concepts that Schelling used. But is this enough to confirm the fact of the direct dependence of Tyutchev’s poetry on Schelling’s pantheistic natural philosophy?

Let us take a closer look at Schelling's philosophical views and Tyutchev's lyrics to answer this question.

In the poem, both parallel figurative series are both independent and at the same time dependent. The close interconnectedness of the two semantic series leads to the fact that images from the natural world allow for double interpretation and perception: they are perceived both in their direct meaning and in their possible correlation with the human. The word is perceived by the reader in both senses at once. In Tyutchev’s natural-philosophical poems, words live a kind of double life. And this makes them as full, voluminous, and with an internal perspective as possible.

The same technique is used in the poem “When in a circle of murderous worries...”.

Tyutchev’s poetic thought, driven by a “powerful spirit” and “refined color of life,” has the widest range of perception of the world. Huge in scale poetic world the poet's work contains many contrasting and even polar images. Image system lyric poetry combines the objective realities of the external world and the subjective impressions of this world made on the poet. The poet knows how to convey not the object itself, but those of its characteristics, the plastic signs by which it is guessed. Tyutchev encourages the reader to “finish” what is only outlined in the poetic image.

So, what is the difference between the lyrics of Tyutchev and Schelling?

In our opinion, the difference between Tyutchev’s poems and Schelling’s philosophical views is genre and generic. In one case we have philosophical poetry, in the other, with Schelling, poetic philosophy. Translation of philosophical ideas into the language of poetry is not a mechanical translation from one system to another, from one “dimension” to another. When this is done in the language of real poetry, it does not look like a trace of influence, but like a new discovery: a poetic discovery and a discovery in the field of thought. For a thought expressed through the means of poetry is never completely detailed that what it is outside the poetic whole.

Existence of Man. Man and nature

In the general series of natural phenomena, Man in Tyutchev’s poetry occupies the incomprehensible, ambiguous position of a “thinking reed”. Painful anxiety, attempts to understand one’s purpose, to unravel the mysteries of “sphinx nature” and to find the “creator in creation” relentlessly haunt the poet. He is consoled by the creation of limitations, the powerlessness of thought, which persistently strives to comprehend the eternal mystery of existence, and the “invisibly fatal hand” indomitably suppresses these vain and doomed attempts.

Here a parallel involuntarily arises not only with the views of Schelling, but also with the views of another thinker - Pascal. . Pascal's philosophy is very close to Tyutchev's worldview.

Blaise Pascal - French mathematician, physicist, thinker, sage. He developed ideas about the tragedy and fragility of man, located between two abysses - infinity and insignificance: “Man is just a reed, the weakest in nature, but he is a thinking reed. (... The Universe does not need to take up arms to destroy him: just steam, a drop of water to kill him. But if the Universe destroyed him, the person would remain more worthy than what kills him, for he knows that he is dying, while the Universe knows nothing about the advantage that the Universe has over him. “A man is great when he is aware of his pitiful condition”

Pascal believed that the dignity of a person lies in the fact that he thinks; this is what elevates a person above space and time. The French philosopher was sure that a person floats “in the vastness, not knowing where”, something drives him, throws him from side to side, and only a person gains stability, as “the laid foundation gives a crack, the earth opens up, and in the gap there is an abyss.” Man is unable to know himself and the world around us, being a part of nature, he is not able to escape beyond the boundaries of the Universe: “Let us understand what we are: something, but not everything; being being, we are not able to understand the beginning of principles arising from non-existence; Being a short-term existence, we are not able to embrace infinity.” “Inconstancy and restlessness are the conditions of human existence,” we read in Pascal’s “Thoughts.” – We thirst for truth, but we find in ourselves only uncertainty. We seek happiness, but we find only deprivation and death. We cannot find confidence and happiness.”

Blaise Pascal sees the way to comprehend the mystery of existence and save man from despair in irrationalism (that is, in limiting or denying the capabilities of the mind in the process of cognition.

The basis of the worldview becomes something irrational; the non-mental aspects of a person’s spiritual life come to the fore: will, contemplation, feeling, intuition, mystical “insight,” imagination, instinct, “the unconscious.”

In Tyutchev's poetry there are many images and concepts found in French philosopher, but perhaps the most basic thing is Tyutchev’s conviction that “the root of our thinking is not in a person’s speculative ability, but in the mood of his heart.” .

The opinion of the Russian poet is consonant with one of the main provisions of Pascal: “We comprehend the truth not only with our minds, but also with our hearts... The heart has its own reasons and its own laws. Their minds, which rely on principle and proof, do not know.”

However, Tyutchev not only accepts the philosophical postulates of the French thinker of the 17th century, but also complements them with his own views, his vision and understanding of the world and the essence of man.

For Pascal, the basis of existence is the Divine will, the irrational principle in man, which always tries to plunge man into the abyss and darkness.

While for Tyutchev, a person is not a being attracted by unconscious, instinctive feelings or divine will.

Chaos and space in Tyutchev’s understanding

Abyss in ancient mythologies– Chaos is the infinite, without boundaries, which is not given to man to comprehend. The Abyss once gave birth to the world, and it will also become its end, the world order will be destroyed, swallowed up by Chaos. Chaos is the embodiment of everything incomprehensible. Everything that exists and is visible is just a splash, a temporary awakening of this abyss. One can feel the elemental breath of “ancient Chaos”, feel oneself on the edge of an abyss, and experience the tragedy of loneliness only at night, when Chaos “wakes up”:

Chaos embodies the element of destruction, destruction, rebellion, and Space is the opposite of Chaos, it is the element of reconciliation and harmony. In Chaos, demonic energies predominate, and in Cosmos, divine energies predominate. These views were later reflected in the poem "Glimpse". Two rows of images pass through the work: on the one hand, loudly, and on the other, faintly sounding “dormant strings” and an awakening “light ringing” symbolize the earthly and heavenly. But the essence of Tyutchev’s dialectic is not to separate or oppose them, but to merge them. In the earthly the poet discovers the heavenly, and in the heavenly the earthly. There is a constant, never-ending struggle between them. What is important to Tyutchev is that moment when the heavenly is reconciled with the earthly, imbued with the earthly, and vice versa.

The light ringing is filled with sorrow, the sound of the “angel’s lyre” is inseparable from the earth’s dust and darkness. The soul strives from Chaos to rise to the sky-high heights, to the immortal. The poet mourns the inability to fully join mysterious life nature and wants to forever contemplate and actively live its secrets, but they are revealed to him only for a moment. The poet remembers the “golden time”. The thirst for the eternal - to be a star, to “shine” - becomes for him an ideal that will never come true. Tyutchev is inexorably drawn to the sky, but he knows that he is burdened by the earth. That’s why he appreciates this moment, which gives him a brief but unconditional participation in the infinite.

In the earthly circle, the earth longs to become addicted to the heavenly, yearns for it. But the dream only becomes a reality for a moment; gravity is inexorable.

However, Tyutchev understands the struggle between the eternal and the perishable in his own way. This is the law of motion of the Universe. It equally approaches all events and phenomena without exception: historical, natural, social, psychological. This confrontation between Space and Chaos is most powerful in the social and psychological.

“Tyutchev’s lyrics in a unique form reflected the crisis of an entire stage European culture, crisis, creations of noble intellect,” writes the famous literary critic Valentin Ivanovich Korovin.

Tyutchev painfully perceives the bourgeois way of life in Europe, realizing that it arouses chaotic elements in society, in communication between people, which threatens humanity with new upheavals. For romanticism, the lofty and dear turns into death; the sublime and living conceals the low, inert. “Catastrophicity brings death, but it also makes you feel life away from the ordinary and takes you into inaccessible spiritual spheres.” .

Tyutchev mourns the inevitability of the death of the age-old way of life and the person belonging to it and at the same time glorifies his share, which allows him to see the world at the moment of creation.

In the poem “The Soul Wanted to Be a Star,” a person longs to dissolve in nature, merge with it, become part of it. Tyutchev paints a vivid picture of the universe. It is strengthened by the contrast of the night sky, where the poet’s soul seems to be lost among other stars, only contemplating the “sleepy earthly world” to the sky flooded with sunlight. Against this background, the merging of the soul, revealed by a ray of sunshine, with nature turns out to be far from being the main plan of the poem. The main motive is the high mission of a person, his destiny to be a star of intelligence, beauty, and humanity. Tyutchev deliberately increases the “solar”, “reasonable” power of the “star”, deifying it.

“So, Tyutchev’s poetic consciousness is addressed primarily to “double being,” to the duality of consciousness and the world as a whole, to the disharmony of all things. Moreover, disharmony is inevitably catastrophic. And this reveals the rebelliousness of being that lies at its basis. The very spirit of man possesses such rebellion.”

The world, according to Tyutchev, can be known not in peace, but, firstly, in an instant, in a “flash of rebellion,” a moment of struggle, in a turning point, and, secondly, an individual, private phenomenon. Only a moment makes one feel the wholeness and boundlessness of existence, towards which the poet is striving, and only a phenomenon reveals the universal, towards which the author gravitates. Tyutchev sees the ideal in a single moment. It seems to connect and merge the actual and the possible. This merging occurs at all levels: both stylistic and genre. A small lyrical form - a miniature, a fragment - contains content equal in scale of generalizations to a novel. Such content appears only for a moment; it cannot be extended.

The fusion of the majestic-beautiful and solemn-tragic principles gives Tyutchev’s lyrics an unprecedented philosophical scale, contained in an extremely compressed form. Each poem depicts an instantaneous state, but is addressed and turned towards the whole of existence and carefully preserves its image and meaning.

The uniqueness of Tyutchev as a poet lies in the fact that in his lyrics German and Russian cultures, East and West coexist in an unusual way. German culture was partly assimilated by him back in Russia at the suggestion of V. A. Zhukovsky. In "Foggy Germany" the poet communicated either in German or French - the language of diplomacy of the time, looked at the same landscapes that inspired the poets and philosophers of Germany, read and translated German poetry; both of the poet's wives were German by birth.

The philosophical basis of Tyutchev's romanticism rests on the recognition of life as an unceasing confrontation of opposite principles, on the affirmation of the mystery, enigma and tragedy of this struggle.

“Tyutchev brought the problematics of Russian romantic philosophical lyrics to the limit, enriching it with the legacy of poets of the 18th century, philosophers of the 19th century, and paving the way for poets of the 20th century.” The structure and form of his poems reflect admiration for the integrity and limitless power of the Universe. The poet feels the contradictory nature of existence and the impossibility of resolving these contradictions, which are caused by inexplicable forces outside of man. Tyutchev recognizes the historical inevitability of the death of his contemporary civilization. This view is typical of the romantic poets of the 20s and 30s of the nineteenth century.

The works of F.I. Tyutchev reflect the views of the German idealist philosopher Friedrich Schelling and the French thinker Blaise Pascal.

Tyutchev's philosophical lyrics are least of all “heady”, rational. I. S. Turgenev described it perfectly: “Each of his poems began with a thought, but a thought that, like a fiery point, flared up under the influence of a feeling or a strong impression; as a result of this, so to speak, the properties of its origin, Tyutchev’s thought never appears naked and abstract to the reader, but always merges with the image taken from the world of the soul or nature, is imbued with it and itself penetrates it inseparably and inseparably.”

In poetry, Fyodor Ivanovich Tyutchev strives to comprehend the life of the Universe, to comprehend the secrets of the Cosmos and Human Existence. Life, according to the poet, is a confrontation between hostile forces: the dramatic perception of reality combined with an inexhaustible love for life.

The human “I” in relation to nature is not a drop in the ocean, but two equal infinities. Internal, invisible movements human soul are in tune with natural phenomena. To express the complex world of the human soul, Tyutchev the psychologist uses associations and images of nature. He does not just depict the state of the soul, but conveys its “beating”, the movement of inner life through the dialectics of natural phenomena.

Tyutchev's lyrics are one of the most remarkable phenomena of Russian philosophical poetry. It intersects the lines of the Pushkin movement, the poets of wisdom, and the influence of the great predecessors and contemporaries - Lermontov, Nekrasov, Fet - is felt. But at the same time, Tyutchev’s poetry is so original that it is perceived as a special, unique artistic phenomenon. The poet’s lyrics combine natural philosophy, subtle psychologism and lyrical pathos. And in Tyutchev himself, a poet-philosopher and a poet-psychologist were surprisingly united.

Tyutchev lived in an era of great upheaval, when “everything turned upside down” in both Russia and Europe. This determined the tragic nature of his worldview: the poet believed that humanity was living on the eve of its destruction, that nature and civilization were doomed. Apocalyptic moods penetrate his lyrics and determine his attitude towards the world as disharmony, “Prophecy”, “The world is over, the choirs have fallen silent”, etc.).

It is believed that Tyutchev’s artistic destiny is that of the last Russian romantic who worked in the era of romanticism. This determines the extreme subjectivity, romanticism and philosophy of his artistic world. Characteristic Features Tyutchev's poetry is rich in metaphor, psychologism, plasticity of images, and widespread use of sound writing. The structure of Tyutchev's poems corresponds to his pantheistic consciousness: usually the poet uses a two-part composition based on hidden or obvious parallelism of the natural world, and three-part structures.

The poet pays special attention to the word, loves to use polysyllabic words, since the length of the word determines the rhythmic pattern and gives the poem an intonation originality.

In terms of genre, Tyutchev gravitates towards philosophical miniatures - compressed, brief, expressive; a philosophical parable with a direct or implied lesson; poetic fragment.

“F.I. Tyutchev, a deeply original poet, was the forerunner of the poetry of the end XIX beginning XX century, starting with Fet and the Symbolists. For many poets and thinkers of the 20th century, Tyutchev’s poems, saturated with unfading meaning, became a source of themes, ideas, images, and semantic echoes.”

Composition

Philosophy and poetry are close to each other, because the tool with which both a poetic stanza and a philosophical treatise are created is human thought. In ancient times, great philosophers such as Aristotle and Hesiod expressed their philosophical thoughts in the form of poetry, thereby demonstrating the power and grace of thought. Aristotle, who is called the father of many sciences, was also the author of works on poetics. This suggests that the poetic perception of reality can be combined with the philosophical search for truth. A poet who rises above everyday problems and penetrates into the deepest questions of existence, strives for the very essence of our existence - to understand the life of the human soul in the world around us.

Fyodor Tyutchev is exactly such a poet for us. His work dates back to the second half of the 19th century, when literature was being formed in Russia, which the whole world would call the golden age of Russian poetry, “Olympic lyrics.” Researchers of Tyutchev's poetic heritage classify him as a poet of the romantic movement, because his lyrics are always removed from everyday life and turned to eternity, unlike, for example, Nekrasov, who was interested in the social environment and moral issues. Poetry can reflect different aspects of life, and Tyutchev’s lyrics have their own specifics - the problems of this poet’s poems are philosophical in nature.

If you examine the lyrics of Fyodor Tyutchev, you will notice that the most important problem for him is the problem of the unity of man with nature, as well as the problem of discord with it.

In the early period of his work, the poet was concerned with the issue of mutual understanding between people. After all, if two thinking human beings, endowed with reason and speech, are unable to come to an agreement, then how to find mutual understanding with the outside world, which does not have the ability to speak?

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.

(“Silentium!”)

The author comes to the conclusion that words not only do not contribute to understanding, they, on the contrary, only confuse, because the same phrase can be understood in different ways different people. This is where the line in the form of an aphorism is born - “a thought expressed is a lie.” A person can keep feelings and dreams deep in his soul, but if he wants to express them, he must be prepared for the fact that the bustle of life will give them a different meaning, and perhaps the thought that excites the soul will seem banal to the interlocutor: “mysteriously magical” thoughts can be deafened by “external noise” (“Silentium!”).

Thus, even in his youth, Tyutchev tried in his poems to raise one of the key philosophical questions - how can one convey a thought to another person without distorting its meaning and without losing the feeling invested in this thought.

Tyutchev is trying to reveal the problem of mutual understanding in top level- philosophically, he seeks the root of evil and finds it in the eternal discord between man and nature, with the universe. A person, as Tyutchev understood, should not rely only on the external form of things and on words. The earthly world of man has moved too far away from the divine world, man does not understand the laws of the Universe and therefore suffers, feeling lonely and unprotected, not feeling how nature cares for him (“The Holy Night has risen on the horizon”). But if human beings turned to nature, listened to the “voice of the mother,” they would find a way to communicate with the world around them in a special, understandable and accessible language:

Not what you think, nature:

Not a cast, not a soulless face -

She has a soul, she has freedom,

There is love in it.

It has a tongue...

(“It’s not what you think, nature...”)

Tyutchev passionately protests against those narrow-minded individuals who strive to see in everything only a random coincidence, a probable occurrence, or, conversely, the arbitrariness of exclusively human will. Such people, answering the question of where foliage comes from on trees and how a fetus is formed in the mother’s womb, will never talk about the power of Mother Nature, about the rational divine world, about the harmonious principle in the Universe.

In the second half and late XIX centuries, the secular minds of Europe and Russia were dominated by new radical ideas: the theory of the origin of species on earth through the process of evolution, which was later formulated by the English naturalist Charles Darwin. This moment is extremely philosophical, because we are talking about the struggle between the principles of the world - matter and spirit, which of them is primary? For Tyutchev, the answer is obvious; he speaks with all conviction through his poetry about the soul of nature as the beginning of everything, including as the source of life for man himself. The author in the programmatic poem “Not what you think, nature...” compares skeptics with cripples who are unable to distinguish not only the voice of the subtle world, but also the simplest and most natural things for everyone, such as the voice of a mother:

It's not their fault: understand, if possible,

Organ life is deaf and dumb!

Tyutchev brilliantly foresaw for many years to come the triumph of materialistic theories that would lead humanity away from the most important issues. He seemed to want to prevent people from being overly fascinated by material things and pointed out in his poetry the existence of subtle harmony in the natural world, the mystery of which man must try to unravel. Tyutchev obviously accepted the discord with Mother Nature as a tragic oversight that arose from a misunderstanding of the laws of nature. In the last years of the poet’s work, a thought came to him, which he formulated in the form of a philosophical miniature:

Nature - sphinx.

And the more faithful she is

His temptation destroys a person,

What may happen, no longer

There is no riddle and she never had one.

Perhaps Tyutchev, having taken a closer look at life, discovered for himself that the main reason for the discord between man and nature - the mystery of nature - exists, like the mythical creature the Sphinx, only in the imagination of people. For a sensitive reader, a thinking person, this gives inspiration and hope that harmony is possible, as the great poet felt.