Lyrical theme the perniciousness of this "fatal duel", the victim of which for the most part is a woman, runs through all of Tyutchev's work ("Two sisters" (1830), "I am sitting thoughtful and alone ..." (1836), "December 1, 1837" and “With what negligence, with what melancholy in love” (1837?), “I am still languishing with anguish of desires ...” (1848), “Oh, how deadly we love ...” (1851?), “Predestination” (1851? ), “Don’t say: he loves me, as before ...” (1851-1852), etc.).
In many of Tyutchev's poems, the frankness of a heart carried away by passion is fatal. She makes him defenseless against the vulgarity of the crowd. In the poem "What did you pray with love ..." the inner world of a woman capable of deep feelings is likened to a temple, and a soulless secular society, pursuing her with her hypocritical judgment, is depicted as a crowd desecrating the temple.
The motifs of a devastated sanctuary or a trampled, destroyed oasis unite Tyutchev's poems of different themes: "Silentium!", "Oh, how murderously we love ..." and "What did you pray with love ..." (1851-1852).
This lyrical motif reflects Tyutchev's inherent sense of the destructiveness of moments of the highest spiritual and creative upsurge, revealing the depths spiritual world a person and putting him in front of the danger of becoming a victim of misunderstanding, hostility, condemnation. At the same time, despite the dangers that spiritual uplift brings, the poet perceives this state as happiness.
So sadly my life is smoldering
And every day leaves smoke;
So gradually I go out
In unbearable monotony!...
Oh heaven, if only once
This flame developed at will,
And, without languishing, without tormenting the share,
I would shine - and went out!
The drama of conflicts of love, disastrous passions, storms was close to the poet. He did not conceive of happiness as a calm existence outside of storms and struggle. No wonder he embodied the flowering of spring nature, the riot of its young forces in the images of a thunderstorm (“Spring Thunderstorm”, “How cheerful the roar of summer storms ...”), boiling and spilling spring waters (“Spring Waters”).
On the contrary, the tragedy of "smoldering", slow, invisible, "deaf" withering, tragedy without catharsis, without a heroic rise caused the poet's deep grief, he was horrified by "pain without joy and without tears."
Tyutchev often draws "extreme", crisis situations, denouement of tense conflicts, climaxes of the struggle. In his philosophical lyrics, this feature of his work is manifested in the fact that the poet's thought tends to the utmost conciseness, to an accurate generalizing maxim.
Translating an elegant, complete formula, a philosophical conclusion into the language of images, the poet expresses his understanding of the essence, the fundamental principles of the life of nature, the universe and the existence of people. In the intimate lyrics of Tyutchev, this feature of his poetry is reflected in the "plot" of the poems depicting the dramatic episodes of the "fatal duel" of two related mutual love hearts.
Along with such dramatic and dramatic plots in Tyutchev's poetry, a significant place is occupied by the depiction of situations of "unclarified" tragedy, silent, unexpressed suffering, and disappearance without a trace. human existence- without a response, without recognition, without reflecting it in memory.
In the poem “December 14, 1825,” Tyutchev draws the Decembrist uprising as not accepted by the people (“The people, shunning treachery, Revile your names”) and history, a sacrifice, a feat unworthy of the name heroic, doomed to oblivion, a consequence of blindness, fatal delusion.
Tyutchev condemns the Decembrists, but the condemnation contained in his poem is ambiguous and not absolute. Sweeping their ideals, their political doctrines as unrealizable, utopian, he portrays them as victims of enthusiasm and dreams of liberation.
It is in this poem that Tyutchev creates a generalizing image of the feudal monarchy of Russia as an “eternal pole” permeated with the iron breath of the night, an image that anticipates the symbolic picture of the post-December reaction given by Herzen (“On the Development of Revolutionary Ideas in Russia”).
One can note a peculiar echo of the images and ideas of Tyutchev's poem, dedicated to the Decembrists, and the symbolic poem "Madness" (1830). In both works, the life of society is embodied in the image of the desert - the land scorched by the heat ("Madness") or permafrost poles ("December 14th, 1825"). The heroes of both works are utopians who dream of conquering the fatal deadness of the desert, bringing it back to life.
They, according to the poet, are madmen, "victims of reckless thought." The stanza that ends "Madness", however, does not sum up the author's thought, condemning the hero.
Moreover, contrary to the position of contemptuous pity declared at the beginning of the work for a madman seeking water in the desert, the end of the poem, filled with lyricism about springs hidden under the sands, the noise of which, as it seems to the hero, he hears, can be rather perceived as the apotheosis of a dream than as her censure.
And he thinks that he hears boiling jets,
What hears the current of underground waters,
And their lullaby singing
And a noisy exodus from the earth!
No wonder this stanza resembles the beginning of a later poem by Tyutchev (1862), which exalts the gift of poetic insight:
Others inherited from nature
Instinct prophetically blind -
They smell them, hear the waters
And in the dark depths of the earth ...
The stanza that concludes "December 14th, 1825" is ambiguous, like the rest of the poem. Warm blood, smoking and freezing in the iron wind, is an image that expresses the human defenselessness of the victims of despotism and the cruelty of the power against which they rebelled. The researcher of Tyutchev's work N.V. Koroleva notes that the image of blood in the poet's poems always has a lofty and tragic meaning.
At the same time, the last verse of this work - "And there were no traces ..." - gives reason to bring "December 14, 1825" closer to Tyutchev's lyrics of the 40-50s, in which the theme of unexplained tragedy, everyday existence "without joy and without tears”, “deaf”, without a trace of death becomes one of the leading ones.
Poems that reflect this theme - "To a Russian woman", "Like a smoky pillar brightens in the sky! ..", "Tears of people, oh tears of people ...", "These poor villages ..." - are remarkable first of all by the fact that they give a generalizing image of contemporary Russian life to the poet, and in the latter - a poetic picture of the life of the people.
The poet bows before the moral greatness of the serfs, sees the high ethical significance of the daily feat of labor and patience of the "unawakened people", but deeply experiences the tragedy of the passivity, unconsciousness of his contemporaries and the meaninglessness of their existence.
Christian humility, humility did not correspond to his titanic nature, thirsting for knowledge and familiarization with life with its passions and battles. The ideal of activity, existence, full of anxieties and events, revealing the creative powers of the individual, already in the 40s, Tyutchev is intertwined with reflections on the fate of the Russian woman, with the confidence that only an active one, illuminated by public, intellectual interests and a free feeling life can make her happy.
The tragedy of everyday, “routine” life, devoid of a “general idea” and significant events, a life that kills high aspirations and creative powers of a person, was revealed in various aspects by representatives of realistic literature of the second half of XIX in. Turgenev devoted many pages to understanding this problem.
Tyutchev, whose work was formed in the bosom of the romantic direction, in the middle of the XIX century. came close to understanding “a person facing historical upheavals”, poetically expressed the psychology of an active, consciously carrying out his historical mission of modern man. Thus, he solved artistic problems that, in one form or another, occupied the realist writers of his time.
The circumstances of Tyutchev's personal life contributed to the development of this line of his work. The poet became a participant in a modern drama that deeply shocked him. Tyutchev was a man of stormy feelings and passions. Already his early poems dedicated to love amaze with the power and frankness of the expression of passion.
If Pushkin in his love lyrics invariably proclaims a chaste feeling “purified” by humanity as the highest manifestation of emotion, Tyutchev reveals the deeply human essence of love through the image of destructive, internally conflicting, fatal passion.
An interesting parallelism and contrast can be noted in Pushkin's poems "Her eyes" and Tyutchev's "I love your eyes, my friend ...".
Let them down with a smile Lelya -
In them modest graces triumph;
Raise - Raphael's angel
This is how the deity contemplates.
With these verses, Pushkin defines the charm of the eyes of his beloved woman.
But there is a stronger charm:
Downcast eyes
In moments of passionate kissing,
And through lowered eyelashes
Gloomy, dim fire of desire.
- as if arguing with him Tyutchev.
Putting forward the idea of a destructive principle lurking in the desire for knowledge and analysis, in particular in psychological analysis, Tyutchev at the same time peers intently into mental life of a person and notes unexpected, unrecognized abstractly normative ideas about relationships in love manifestations of personality.
Already in the early poem "To N.N." (1830), the lyrical hero observes his beloved woman, tries to conclude on the basis of her actions about her feelings, her character, and, marveling at this character, reflects on the reasons for the formation of his properties:
Thanks to both people and fate,
You learned the price of secret joys,
Recognized the light: he puts us in treason
All joys... Treason flatters you.
Like Goethe's Faust, the subject of Tyutchev's lyrics combines a riot of passions with a cold analytical mind. Not only the beloved woman, but his own personality becomes the object of the poet's observations. In Tyutchev's poems, which convey a strong, sometimes deeply tragic feeling, the poet often appears as an observer, struck by the spectacle of destructive, fatal and beautiful manifestations of passion.
Oh, how deadly we love
As in the violent blindness of passions
We are the most likely to destroy
What is dear to our heart!
Oh, how in our declining years
We love more tenderly and more superstitiously...
For a tendency to analysis, reflection, observation, he is ready to condemn himself, to deny himself the right to direct feeling.
You love sincerely and ardently, and I -
I look at you with jealous annoyance ...
This is how Tyutchev addressed the woman whom he passionately loved, the passion for which made up the happiness and tragedy of his life after his arrival in Russia.
History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983
F.I. Tyutchev was a poet of tragic and philosophical perception of life. This view of the world determined the expression of all poetic themes in his work.
Having lived a long life, he was a contemporary of many tragic events not only in Russia, but also in Europe. Peculiar civil lyrics poet. In the poem "Cicero" he writes:
Happy is he who visited this world
In his fatal moments!
He was called by the all-good,
Like an interlocutor at a feast,
He is a spectator of their high spectacles ...
Understanding one's destiny, the desire to understand the meaning of life and the cycle of history distinguishes the poet's lyrics. Tyutchev, considering historical events, finds in them more tragic. In the poem “December 14, 1825,” the poet passes his sentence on the Decembrist uprising, calling the rebels “victims of reckless thought,” who
“We hoped ... that your blood would become scarce in order to melt the eternal pole!”
He also says that the Decembrists themselves are a product of Autocracy
(“You have been corrupted by Autocracy”).
The poet understands the futility of such a speech and the strength of the reaction that came after the defeat of the uprising (“The iron winter died - and there were no traces left”).
Century , in which the poet had to live - the age of iron winter. In this age, the law becomes
Be silent, hide and hide
And my thoughts and dreams...
The ideal of the poet is the harmony of man and the world, man and nature, which is given only by faith, but it was faith that man lost.
We burn with unbelief and wither,
He endures the unbearable...
And he knows his death
And longs for faith...
“... I believe, my God!
Come to the aid of my unbelief!”
The modern poet's world has lost harmony, lost faith, which threatens with future cataclysms of mankind. In the quatrain "The Last Cataclysm" the poet paints a picture of the Apocalypse:
When the last hour of nature strikes,
The composition of the parts will collapse earthly:
Everything visible will again be covered by water,
And God's face will be displayed in them!
The poet prefers not to talk about specific human destinies, giving broad generalizations. Such, for example, is the poem "Tears":
Human tears, oh human tears,
You pour early and late sometimes ...
Flow unknown, flow invisible,
Inexhaustible, innumerable...
Perhaps it was Tyutchev who managed to poetically express
Russia cannot be understood with the mind,
Do not measure with a common yardstick:
She has a special become -
One can only believe in Russia.
In this quatrain, everything that we say about our country to this day:
And if there is faith, then there is hope.
All of Tyutchev's poetry can be called philosophical, because, no matter what he talks about, he strives to comprehend the world, the world of the unknowable. The world is mysterious and incomprehensible. In the poem "Day and Night", the poet claims that the day is only an illusion, but the true world is revealed to man at night:
Day - this brilliant cover ...
But the day fades - the night has come;
Came - and, from the fatal world
The fabric of the fertile cover
Tearing off, throwing away...
And there are no barriers between her and us -
That's why we fear death!
It is at night that a person can feel like a particle of a boundless world, feel harmony in his soul, harmony with nature, with a higher principle.
An hour of longing inexpressible!…
Everything is in me and I am in everything!
In Tyutchev's poetry, images of the abyss, the sea, the elements, the night often appear, which are also found in nature, in the human heart.
Thought after thought, wave after wave
Two manifestations of the same element:
Whether in a tight heart, in a boundless sea,
Here in prison, there in the open,
The same eternal surf and end,
The same ghost is disturbingly empty.
The philosophical lyrics of the poet are closely connected with. Actually, we can say that all the landscape lyrics of the poet are imbued with philosophical reflections. The poet speaks of nature as an animated, thinking part of the world, in nature "there is a soul, ... there is freedom, ... there is love, ... there is a language." Man is connected with nature by the “union of consanguinity”. But at the same time natural world incomprehensible to man.
Sky (Dream of harmony) is opposed to earth (loneliness):
"Oh, how the earth, in the sight of heaven, is dead!"
Tyutchev the lyricist knows how to convey the slightest changes in nature, to notice the brevity of beautiful moments.
Is in the autumn of the original
A short but wonderful time.
Man, on the other hand, appears before the secret of nature as a “homeless orphan”.
The tragic attitude is reflected in the love lyrics of the poet.
Oh, how deadly we love!
As in the violent blindness of passions
We are the most likely to destroy
What is dear to our heart!
Love, in his opinion, is not only a merger of kindred souls, but also their "fateful duel." The tragic love for E. Denisyeva, her death was reflected in many poems of the poet
(“She sat on the floor”, “She lay unconscious all day”, “On the eve of the anniversary of August 4, 1864”).
Continuing, the poet speaks of the enormous power of resurrection, rebirth, which love has
There's not just one memory
Then life spoke again -
And the same charm in you,
And the same love in my soul!
The incessant search for answers to the eternal questions of being, the ability to show the soul of a person, to touch the thinnest strings human soul makes Tyutchev's poetry immortal.
Did you like it? Do not hide your joy from the world - shareF. I. Tyutchev is a brilliant lyricist, a subtle psychologist, a deep philosopher. A singer of nature, keenly aware of the cosmos, a wonderful master of poetic landscape, spiritualized, expressing human emotions.
Tyutchev's world is full of mystery. One of his mysteries is nature. Two forces constantly oppose and coexist in it: chaos and harmony. In the abundance and triumph of life, death peeps through; night is hidden under the cover of day. Nature in Tyutchev's perception continuously doubles, "polarizes". It is no coincidence that the poet’s favorite technique is the antithesis: “the valley world” opposes the “icy heights”, the dull earth - the sky shining with a thunderstorm, the light - the shadows, the “blissful south” - the “fatal north”.
Tyutchev's pictures of nature are characterized by dynamism. In his lyrics, nature lives at different hours of the day and seasons. The poet draws the morning in the mountains, and the “night sea”, and the summer evening, and the “misty noon”, and the “first spring thunder”, and the “gray-haired moss” of the north, and the “fragrances, flowers and voices” of the south.
Tyutchev seeks to capture the moment of transformation of one painting into another. For example, in the poem “Grey-gray shadows mingled ...” we see how twilight gradually thickens and night comes. The poet conveys a quick change in the states of nature with the help of non-union constructions, homogeneous members suggestions. The dynamism of the poetic picture is given by the verbs: “mixed up”, “fell asleep”, “faded”, “resolved”. The word “movement” is perceived as a contextual synonym for life.
One of the most remarkable phenomena of Russian poetry is Tyutchev's poems about the captivating Russian nature, which in his poems is always spiritualized:
Not what you think, nature:
Not a cast, not a soulless face -
It has a soul, it has freedom,
It has love, it has a language...
The poet seeks to understand and capture the life of nature in all its manifestations. With amazing artistic observation and love, Tyutchev created unforgettable poetic pictures of the “initial autumn”, spring thunderstorms, summer evenings, mornings in the mountains. in a beautiful way such a deep, penetrating image of the natural world can be a description of a summer storm:
How cheerful is the roar of summer storms,
When, picking up the flying dust,
Thunderstorm, surging cloud,
Confused sky blue.
And thoughtlessly
Suddenly he will run into the oak forest,
And the whole oak forest will tremble
Loud and noisy...
Everything in the forest appears to the poet alive, full of deep meaning, everything speaks to him "in a language understandable to the heart."
With images of the natural elements, he expresses his innermost thoughts and feelings, doubts and painful questions:
Unflappable order in everything;
Consonance is complete in nature, -
Only in our ghostly freedom
Discord we create with her.
“The faithful son of nature,” as Tyutchev called himself, he exclaims:
No, my passion for you
I can not hide, mother earth!
In the “blooming world of nature”, the poet saw not only “an excess of life”, but also “damage”, “exhaustion”, “fading smile”, “spontaneous discord”. Thus, Tyutchev's landscape lyrics also express the conflicting feelings and thoughts of the poet.
Nature is beautiful in all forms. The poet sees harmony in "spontaneous disputes". The consonance of nature is opposed to eternal discord in human life. People are self-confident, they defend their freedom, forgetting that a person is just a “dream of nature”. Tyutchev does not recognize a separate existence, he believes in the World Soul as the basis of all life. A person, forgetting about his connection with the outside world, dooms himself to suffering, becomes a toy in the hands of Rock. Chaos, which is the embodiment of the creative energy of the rebellious spirit of nature, frightens people.
Fatal beginnings, the attack of chaos on harmony determine human existence, its dialogue with fate. A man is waging a duel with "irresistible Fate", with disastrous temptations. He tirelessly resists, defends his rights. The problem of “man and destiny” is most clearly reflected in the poem “Two Voices”. Addressing readers, the poet calls:
Take courage, O friends, fight diligently,
Although the battle is unequal, the struggle is hopeless! ..
Unfortunately,
anxiety and labor only for mortal hearts...
There is no victory for them, there is an end for them.
The silence of nature, which surrounds a person, looks ominous, but he does not give up; he is driven by a noble will to resist the merciless force and courage, readiness to go to death in order to “wrest the victorious crown from Doom”.
On all his work lies the stamp of reflections on the contradictions in public life, of which the poet was a participant and thoughtful observer.
Calling himself “a fragment of the old generations,” Tyutchev wrote:
How sad half asleep shadow
With exhaustion in the bones
Towards the sun and movement
Follow the new tribe.
Tyutchev calls man an insignificant dust, a thinking reed. Fate and the elements rule, in his opinion, over a man, a homeless orphan, his fate is like an ice floe melting in the sun and floating away into the all-encompassing sea - into the “fatal abyss”.
And at the same time, Tyutchev glorifies the struggle, courage, fearlessness of a person, the immortality of a feat. For all the fragility of human existence, people are possessed by a great thirst for the fullness of life, flight, heights. The lyric hero exclaims:
Oh Heaven, if only for once
This flame developed at will -
And, without languishing, without tormenting the share,
I would shine - and went out!
Tension and drama also penetrate the sphere of human feelings. Human love is only a “fatal duel”. This is especially keenly felt in the "Denisiev cycle". Tyutchev's psychological mastery, the depth of comprehension of the innermost secrets of the human heart make him the forerunner of Tolstoy's discoveries in the field of "dialectics of the soul", determine the movement of all subsequent literature, more and more immersed in the subtlest manifestations of the human spirit.
The seal of duality lies on Tyutchev's love lyrics. On the one hand, love and its “enchantment” are the “key of life”, “wonderful captivity”, “pure fire”, “union of the soul with the soul of the native”; on the other hand, love appears to him as “violent blindness”, “an unequal struggle between two hearts”, “a fatal duel”.
Tyutchev's love is revealed in the guise of an insoluble contradiction: boundless happiness turns into tragedy, moments of bliss entail a terrible retribution, lovers become executioners for each other. The poet makes a startling conclusion:
Oh, how deadly we love
As in the violent blindness of passions
We are the most likely to destroy
What is dear to our heart!
Tyutchev's lyrics are full of anxiety and drama, but this is the real drama of human life. In an effort to capture it, to turn it into beauty, this is also a “victory of immortal forces”. Tyutchev's poetry can be said in his own poems:
Among thunders, among fires,
Among the seething passions,
In spontaneous fiery discord,
She flies from heaven to us -
Heavenly to earthly sons,
With azure clarity in your eyes -
And on the stormy sea
Pours conciliatory oil.
Tyutchev's literary heritage is small in volume, but A. Fet rightly noted in the inscription on Tyutchev's collection of poems:
Muse, observing the truth,
She looks, and on the scales she has
This is a small book
Volumes are much heavier.
Lesson Objectives:
Type of lesson: learning new material.
Methods and techniques: explanatory - illustrative, the use of computer technology, staging, students' reports on the biography and work of the poet, filling in the chronological table, slide show, vocabulary work, expressive reading of F.I. Tyutchev's poems, the use of interdisciplinary connections with music, art of the nineteenth century.
Equipment:
During the classes
1. Organizational moment.
2. Learning new material.
Introductory speech of the teacher about the goals and objectives of the lesson.
The teacher shows slide number 1 (the topic of the lesson).“Stages of the biography and creativity of F.I. Tyutchev. The main themes and motifs of the lyrics ”(recording the date and topic of the lesson in a notebook).Slide number 2 (epigraphs for the lesson).
This year (in November) marks the 205th anniversary of the birth of F.I. Tyutchev.
Tyutchev ... created speeches that are not destined to die.
I.S. Turgenev... for Tyutchev, to live means to think.
I.S. Aksakov
Look what wonderful words were said about Fyodor Ivanovich Tyutchev
(recording one epigraph in a notebook).
You have known Tyutchev's poetry since elementary school. What do you know about this poet?
What verses were taught, read?
What is this poet talking about?
So, this is basically the poet's landscape lyrics. And today at the lesson we are not only
we will get acquainted with the biography of the poet, but also read the poems and understand that the main thing is
Tyutchev is not an image of nature, but its comprehension, i.e. natural philosophical lyrics.
Tyutchev, new to you, will appear before you, that is, poems about love, about the Motherland, philosophical lyrics will be heard.
At the end of the lesson, we will conclude:
What are the main themes and motifs of Tyutchev's lyrics?
Prepare to fill in the chronological table “dates - events”.
(A pre-prepared student reads the message “The Life and Work of F.I. Tyutchev”, the rest of the students write down dates and events from the screen in a table).
3. Student's message about the biography of the writer.
Slide number 3 (Tyutchev as a child. Portrait of an unknown artist. Left - mother, Ekaterina Lvovna. Right - father, Ivan Nikolaevich).
Fedor Ivanovich Tyutchev was born on November 23, 1803 in the village of Ovstug, Bryansk district, Oryol province, into a well-born noble family of average income. Fyodor Ivanovich was the second, younger son of Ivan Nikolaevich and Ekaterina Lvovna Tyutchev. Father Ivan Nikolaevich did not aspire to a service career, he was a hospitable and kind-hearted landowner.
Fedor Ivanovich Tyutchev and appearance(he was thin and small in stature), and in his inner spiritual order he was the complete opposite of his father; they had one thing in common. On the other hand, he was extremely like his mother, Ekaterina Lvovna, a woman of remarkable intelligence.
The Tyutchevs' house did not stand out in any way from the general type of Moscow boyar houses - open, hospitable, willingly visited by numerous relatives and Moscow society.
In this completely Russian Tyutchev family, French prevailed and almost dominated, so that not only all conversations, but also all correspondence between parents and children and between children was conducted in French.
From the very first years, Fedor Ivanovich was the favorite and darling of grandmother Osterman, mother and everyone around. Thanks to his mental abilities, he studied unusually successfully. (teacher's comments to slide No. 3).
On this slide you see Tyutchev as a child. The portrait was painted in pastel by an unknown artist. On the left - mother, Ekaterina Lvovna. On the right is his father, Ivan Nikolaevich.
Slide №4 (S.E. Raich)
Tyutchev's parents spared nothing for the education of their son, and in the tenth year of his life they invited Semyon Yegorovich Raich to be his teacher. The choice was the best. A learned man and at the same time quite literary, an excellent connoisseur of classical ancient and foreign literature. Semyon Yegorovich stayed in the house of the Tyutchevs for seven years. Under the influence of the teacher, the future poet joined the literary work early and soon became the pride of the teacher. Already at the age of 14, Tyutchev translated into verse the message of Horace to the Maecenas, which was first published in 1819 (teacher's comments to slide No. 4).
Slide №5 (Moscow University. Unknown artist. 1820s)
In 1818, Tyutchev entered the verbal department of Moscow University, his friend was M.P. Pogodin, later a well-known historian.
In his student years, moderate political freethinking is formed, but Tyutchev remains an opponent of revolutionary speeches, artistic, aesthetic, and philosophical interests predominate.
In his student years, Tyutchev read a lot, participates in the literary life of the university, his early experiments are sustained in the spirit of the poetry of classicism and sentimentalism (teacher's comments to slide No. 5).
In 1821, when Tyutchev was not yet 18 years old, he passed his last exam with excellent marks and received his Ph.D. After graduating from the university, Tyutchev was sent to St. Petersburg, to serve in the State Collegium of Foreign Affairs, received a position as a supernumerary officer of the Russian diplomatic mission in Bavaria, and at the age of 19 went to Munich.
Tyutchev was to spend 22 years abroad.
Staged.
Slide number 6 (Portraits of Tyutchev and Amalia Lerchenfeld)
And now we will show you a short scene in which an official of the Russian diplomatic mission in Munich, 20-year-old F.I. Tyutchev and 15-year-old Amalia, daughter of Count Lerchenfeld, a Munich diplomat (sketch).
Listen to the romance "I met you ..." performed by S. Zakharov.
(teacher's comments to slide No. 6).
Slide #7 (Eleanor Peterson)
Shortly after being infatuated with Amalia Lerchenfeld, in 1826 Tyutchev married the widow of a Russian diplomat, Eleanor Peterson (teacher's comments to slide No. 7).
The student recites the poem “She stood silently before me…”
There was a fire on the Nikolai steamship, on which Eleanor and her three daughters were returning from Russia to Italy. Eleanor showed courage in saving her daughters. After a nervous and physical shock, Tyutchev's wife dies. According to family tradition, "Tyutchev, after spending the night at the tomb of his wife, turned gray with grief."
The student recites the poem “I strove for you with my soul ...”
Abroad, he lived outside the Russian language element, moreover, both of the poet's wives were foreigners who knew the Russian language.
French was the language of his home, his service, his social circle, and finally, his journalistic articles and private correspondence, only poetry was written in Russian.
As a poet, Tyutchev developed by the end of the 20s. A significant event in the literary fate of Fyodor Ivanovich was the publication of a large selection of his poems in Pushkin's Sovremennik in 1836 under the heading "Poems sent from Germany" with the signature "F.T."
After this publication, Tyutchev was noticed in literary circles, but Tyutchev's name was still unknown to readers.
Slide #8 (Ernestine Dernberg)
In 1839 Tyutchev married Ernestine Dernberg (née Baroness Pfeffel).
Teacher's comments on slide #8.
Before you is a portrait of Ernestine Dernberg.
In moments of great joy and at a time of deep despair, the faithful Nesti bowed at the head of the poet, sick in spirit and body. So called Ernestina Tyutchev. One day he found her sitting on the floor, her eyes full of tears. The letters they wrote to each other were scattered around. Almost mechanically, she took them from the packs one by one, ran her eyes through the lines of love and confessions, and just as mechanically, like a wound up mechanical doll, threw thin sheets yellowed with age into the fire of the fireplace. Thus was born the poem “She was sitting on the floor…”
The student recites the poem “She was sitting on the floor…”
In 1844, Tyutchev and his family permanently moved to Russia.
He lived in St. Petersburg, had extraordinary success in high society, conquering everyone with his refined conversation and brilliant wit. Few people knew that the favorite of the St. Petersburg salons "under the influence of great political and social upheavals ... was an inspired prophet."
At this time, Tyutchev almost did not write poetry: in the fall of 1849, he began to create a large historical and philosophical tract in French, Russia and the West. This work remained unfinished.
Slide number 9 (Elena Aleksandrovna Denisyeva)
When Tyutchev was 47 years old, a love affair began that enriched Russian poetry with an immortal lyrical cycle. Denisiev cycle - top love lyrics Tyutcheva, 24-year-old Elena Aleksandrovna Denisyeva studied at the Smolensk Institute with Tyutchev's daughters. They fell in love and for 14 years were connected by civil ties and two children.
The student recites the poem "What did you pray with love ...".
Loving Denisyeva, Fedor Ivanovich Tyutchev did not leave his family; in letters and poems, he addressed his wife with a penitent confession: “Oh, how much better you are than me, how much higher! How much dignity and seriousness in your love, and how petty and miserable I feel next to you!.. Alas, this is so, and I have to admit that although you love me four times less than before, you still love I am ten times more than I am worth.”
In the eyes of high society, the connection with Denisyeva was scandalous, the whole burden of condemnation and rejection fell on Denisyeva's shoulders. Not only did the “light” turn away from Elena Alexandrovna, but her own father also renounced her. The whole cycle of poems dedicated to Denisyeva is imbued with a heavy sense of guilt, full of fatal forebodings. In these verses there is neither ardor nor passion, only tenderness, pity, admiration for the strength and integrity of her feelings, consciousness of her own unworthiness, indignation at the “immortal human vulgarity”.
The death of Elena Alexandrovna at the age of 38 from consumption caused an explosion of deepest despair in the poet, which was reflected in the poems of this period.
Teacher's comments on slide #9.
The student recites the poem “Oh, how deadly we love…”
Slide #10
In the 40s, Tyutchev almost did not publish for 10 years, and only in the 50s Nekrasov and Turgenev published 92 poems by Tyutchev in the Sovremennik magazine. And in 1854, the first poetic collection of poems by Fyodor Ivanovich Tyutchev was published. His poetry was highly appreciated by writers and critics of various trends: Chernyshevsky, Dobrolyubov, Leo Tolstoy, Fet, Aksakov. All this meant that late, but true fame came to Tyutchev.
In 1958, Tyutchev was appointed chairman of the foreign censorship committee. In 1868, Tyutchev's last lifetime poetry collection was published.
Teacher comments on slide #10
Fyodor Ivanovich Tyutchev was never a professional writer, he created poems as if "involuntarily", he cared little about their fate and did not bother at all about the author's glory. He was worried about something else:
"We can't predict
How our word will respond, -
And sympathy is given to us,
How do we get grace...
Tyutchev's ingenious poetic word received a truly nationwide response in our country. The memory of the poet is carefully preserved in the Muranovo Museum-Estate near Moscow, the main Tyutchev memorial of the country.
On the slide you see a desk and personal belongings of F.I. Tyutchev, which are located in the museum-estate Muranovo.
4. The main themes and motives of the lyrics. Teacher's word.
Tyutchev's poetry belongs to the enduring values of the literature of the past, which today enrich the spiritual culture of every person. Tyutchev's work attracted the attention of many prominent writers, thinkers, scientists, but so far it has remained insufficiently studied and understood. Many opposite opinions have been expressed about Tyutchev's work: they admired him, they did not perceive him. Everyone will have to develop their own point of view on his work. But one cannot imagine his poetry without the lyrics of nature.
The fate of Tyutchev, the poet, is unusual: this is the fate of the last Russian romantic poet, who worked in the era of the triumph of realism and still remained faithful to the precepts of romantic art.
Tyutchev's romanticism affects, first of all, in the understanding and depiction of nature. And the poet entered the consciousness of readers, first of all, as a singer of nature.
The predominance of landscapes is one of the hallmarks of his lyrics. It is more correct to call it landscape-philosophical: the pictures of nature embody the deep, intense tragic thoughts of the poet about life and death, about man, humanity and the universe: what place does Man occupy in the world and what is his Fate.
Tyutchev uniquely captured all four seasons in his poems.
Slide number 11 (Spring).
In the poem “Spring Waters”, streams - the first messengers of spring, announce the arrival of a nature festival. Listen to the romance "Spring Waters" performed by L. Kazarnovskaya.
(Students tell Tyutchev's poems about nature and speak about how Tyutchev's lines are perceived, what feelings and associations they give rise to).
The student recites the poem "Spring Thunderstorm". The background music of P.I. Tchaikovsky "The Seasons" "April. Snowdrop".
We get acquainted with Tyutchev's poetry in primary school, these are poems about nature, landscape lyrics. But Tyutchev's main thing is not the image, but the comprehension of nature - natural-philosophical lyrics, and his second theme is the life of the human soul, the intensity of love feelings. The lyrical hero, understood as the unity of the individual, which is both the object and subject of lyrical comprehension, is not typical for Tyutchev. The unity of his lyrics gives an emotional tone - a constant vague anxiety, behind which stands a vague, but unchanging feeling of the approach of the universal end.
The predominance of landscapes is one of the hallmarks of his lyrics. At the same time, the image of nature and the thought of nature are united by Tyutchev: his landscapes receive a symbolic philosophical meaning, and the thought acquires expressiveness.
In relation to nature, Tyutchev shows, as it were, two hypostases: existential, contemplative, perceiving the world“with the help of the five senses” - and spiritual, thinking, striving to guess the great secret of nature behind a visible cover.
Tyutchev the contemplator creates such lyrical masterpieces as "Spring Thunderstorm", "There is in the original autumn ...", "In the Enchanting Winter ..." and - many similar, short, like almost all Tyutchev's poems, charming and imaginative landscape sketches.
Tyutchev the thinker, turning to nature, sees in it an inexhaustible source for reflections and generalizations of the cosmic order. This is how the poems “Wave and Thought”, “There is melodiousness in the waves of the sea ...”, “How sweetly the dark green garden slumbers ...”, etc. were born. Several purely philosophical works adjoin these works: "Silentium!", "Fountain", "Day and Night".
The joy of being, happy harmony with nature, serene intoxication with it are characteristic mainly of Tyutchev's poems dedicated to spring, and this has its own pattern. Constant thoughts about the fragility of life were the poet's haunting companions. “The feeling of melancholy and horror has become my usual state of mind for many years” - such confessions are not uncommon in his letters. A constant frequenter of secular salons, a brilliant and witty interlocutor, "a charming talker", according to the definition of P. A. Vyazemsky, Tyutchev was forced to "avoid, by all means, for eighteen hours out of twenty-four any serious meeting with himself" . And few people could comprehend his complex inner world. This is how Tyutchev's daughter Anna saw her father: “He seems to me one of those primordial spirits, so subtle, smart and fiery, who have nothing to do with matter, but which, however, have no soul either. He is completely outside of any laws and regulations. It strikes the imagination, but there is something creepy and unsettling about it.”
The awakening spring nature had a miraculous property to drown out this constant anxiety, to pacify the poet's anxious soul.
The power of spring is explained by its triumph over the past and future, the complete oblivion of the past and future destruction and decay:
And the fear of inevitable death
Not a leaf shines from the tree:
Their life is like a boundless ocean,
All in the present spilled.
Love for life, an almost physical "overabundance" of life is clearly visible in many of the poet's poems dedicated to spring. Singing the spring nature, Tyutchev invariably rejoices at the rare and brief opportunity to feel the fullness of life, not overshadowed by the harbingers of death - “You will not meet a dead leaf”, - an incomparable joy to surrender entirely to the present moment, involvement in “divine-universal life”. Sometimes even in the autumn he feels the breath of spring. A striking example of this was the poem "Autumn Evening", which is one of the clearest examples of Tyutchev's skill as a landscape painter. The poem is clearly generated by domestic impressions, the sadness caused by them, but at the same time it is permeated with Tyutchev's tragic thoughts about the lurking storms of chaos:
Is in the lordship of autumn evenings
A touching, mysterious charm:
The ominous brilliance and variegation of trees,
Crimson leaves languid, light rustle,
Foggy and quiet azure.
Over the sadly orphaned earth
And, like a premonition of descending storms,
A gusty, cold wind at times,
Damage, exhaustion - and on everything
That gentle smile of fading,
What in a rational being do we call
Divine bashfulness of suffering.
A short, twelve-line poem is not so much a description of the originality of an autumn evening as a generalized philosophical reflection on time. It should be noted that not a single point interrupts the excitement of thought and observation, the entire poem is read in prayerful reverence for the great sacrament, for the "divine bashfulness of suffering." The poet sees in everything a meek smile of fading.
The mysterious charm of nature absorbs both the ominous brilliance of trees and the dying crimson of autumn foliage; the earth is sadly orphaned, but the azure above it is foggy and quiet, a cold wind rushes by with a premonition of storms.
Behind the visible phenomena of nature, "chaos stirs" invisibly - the mysterious, incomprehensible, beautiful and fatal depth of the primordial. And in this single breath of nature, only man is aware of the "divinity" of her beauty and the pain of her "shameful suffering."
In contrast, or rather, in preference to the dubious heavenly bliss of the indisputable, reliable enjoyment of the beauty of spring nature, selfless intoxication with it, Tyutchev is close to A.K. Tolstoy, who wrote: “God, how beautiful it is - spring! Is it possible that in the other world we will be happier than in this world in the spring! Exactly the same feelings fill Tyutchev:
What is the joy of paradise before you,
It's time for love, it's time for spring
Blooming bliss of May,
Ruddy color, golden dreams?
Tyutchev's poetry is also known for completely different moods: a sense of transience human being, awareness of its fragility and fragility.
In comparison with the ever-renewing nature (“Nature does not know about the past ...”; “Her gaze shines with immortality ...” and much more), a person is nothing more than a “cereal of the earth”, a dream of nature”:
Look how in the river expanse,
On the slope of the newly revived waters,
Into the all encompassing sea
After the ice floe, the ice floats after.
In the sun or iridescent shining,
Or at night in late darkness,
But everything, inevitably melting,
They swim towards the same meta.
Oh, seduction of our thoughts,
You, human I,
Isn't that your meaning?
Isn't that your fate?
But neither the triumphant exclamations of "spring waters" nor the tragic notes of the poem "Look how in the open space of the river ..." still do not give a complete picture of the pathos of Tyutchev's poetry. In order to unravel it, it is important to understand the very essence of the philosophical and artistic interpretation of nature and man in Tyutchev's poetry. The poet rises to understand the relationship between these two worlds - the human Self and nature - not as an insignificant drop and the ocean, but as two infinities: "Everything is in me and I am in everything ...". Therefore, Tyutchev's poetry is permeated not with a numbness of melancholy, not with a sense of the illusiveness of individual being, but with the intense drama of a duel, albeit an unequal one:
Take courage, O friends, fight diligently,
Even though the fight is uneven...
Apotheosis of life. full of burning, the lines of the poem “Like over hot ash ...” sound, and “Spring Thunderstorm” is perceived as a hymn to youth and human renewal.
On Tyutchev's lyrical landscapes lies a special seal, reflecting the properties of his own spiritual and physical nature- fragile and painful.
His images and epithets are often unexpected, unusual and extremely impressive.
Its branches are weary, the earth is frowning, the leaves are exhausted and dilapidated, the stars are talking to each other quietly, the day is waning, movement and the rainbow are exhausted, fading nature smiles weakly and frailly, and much more.
The "eternal order" of nature sometimes delights, sometimes desponds the poet:
Nature does not know about the past,
Our ghostly years are alien to her,
And in front of her we are vaguely aware
Themselves - only a dream of nature.
But in his doubts and painful search for the true relationship between the part and the whole - man and nature - Tyutchev suddenly comes to unexpected insights: man is not always at odds with nature, he is not only a "helpless child", but he is equal to her in his creative potency:
Bound, connected from the ages
union of consanguinity
Intelligent human genius
With the creative power of nature...
Say the cherished word he -
And a new world of nature
But on the other hand, nature in Tyutchev's poems is spiritualized, humanized.
It has love, it has language.
Like a man, nature lives and breathes, rejoices and sadness, constantly moves and changes. Pictures of nature help the poet convey the passionate beating of thought. To embody complex experiences and deep thoughts in vivid and memorable images. In itself, the animation of nature is usually in poetry. But for Tyutchev, this is not just a personification, not just a metaphor: he "accepted and understood the living beauty of nature not as his fantasy, but as truth." The landscapes of the poet are imbued with a typically romantic feeling that this is not just a description of nature, but dramatic episodes of some continuous action.
Tyutchev's inquisitive thought finds philosophical problems in the theme of nature. Each of his descriptions: a series of winter and summer, a spring thunderstorm is an attempt to look into the depths of the universe, as if to open the veil of its secrets.
Nature is a sphinx.
And the more she returns.
With his temptation, he destroys a person,
What, perhaps, no from the century
There is no riddle, and there was none.
Tyutchev's "landscapes in verse" are inseparable from a person, his state of mind, feelings, moods:
Moth flying invisible
Heard in the air at night.
An hour of longing inexpressible!
Everything is in me, and I am in everything!
The image of nature helps to reveal and express the complex, contradictory spiritual life of a person who is doomed to forever strive to merge with nature and never achieve it, because it brings death, dissolution in the original chaos. Thus, the theme of nature is organically linked by F. Tyutchev with the philosophical understanding of life.
Landscape lyrics by F.I. Tyutchev is represented by two stages: early and late lyrics. And there are many differences in the poems of different times. But, of course, there are similarities. For example, in the verses of landscape lyrics of both stages, nature is captured in its movement, the change of phenomena, Tyutchev's "landscapes in verse" are imbued with tension and drama of the poet's aspiration to the secrets of the universe and the "human self". But in Tyutchev's late lyrics, nature seems to be approaching man; Increasingly, the poet's attention shifts to the most immediate impressions, to the most concrete manifestations and features of the surrounding world: "the first yellow leaf, spinning, flies onto the road "; “Dust flies like a whirlwind from the fields”; rain "threads gild" the sun. All this is especially keenly felt in comparison with the earlier landscape lyrics of the poet, where the moon is a “luminous god”, the mountains are “native deities”, and the “brilliant cover” of the day “by the high will of the gods” hangs over the abyss of the “fatal world”. It is significant that, reworking the previously written "Spring Thunderstorm", Tyutchev introduces a stanza into the poem, which enriches the pictorial picture with those visually concrete images that it lacked:
The young peals are thundering,
Here comes the rain. The dust flies
Rain pearls hung,
And the sun gilds the threads.
Observing the spring awakening of nature, the poet notices the beauty of the first green translucent leaf (“First Leaf”).
On a hot August day, he catches the “honey” smell coming from the “whitening fields” of buckwheat (“Clouds are melting in the sky ...”). late autumn feels the breath of a "warm and damp" wind, reminiscent of spring ("When in the circle of murderous worries ...").
A vivid visual impression arises even when the poet names not the object itself, but those signs by which it is guessed:
And the shadows of the evening clouds
It flew over the light roofs.
And pines, along the way, shadows
The shadows have already merged into one.
The figurative system of Tyutchev's lyrics is an unusually flexible combination of concretely visible signs of the outside world and the subjective impression that this world makes on the poet. Tyutchev can very accurately convey the visual impression of the impending autumn:
Is in the autumn of the original
Short but wonderful time -
The whole day stands as if crystal,
And radiant evenings ...
Tyutchev's ability to give a plastically correct image of the outside world, to convey the fullness of the external impression is amazing. But no less surprising is his mastery of expressing the fullness of inner sensations.
Nekrasov wrote that Tyutchev manages to awaken the "reader's imagination" and force him to "finish" what is only outlined in the poetic image. This feature of Tyutchev's poetry was also noticed by Tolstoy, who singled out unusual, unexpected phrases in his poems that hold the reader's attention and awaken creative imagination.
How unexpected and even strange at first glance, this combination of two seemingly incompatible words: "an idle furrow." But it is precisely this strange and amazing phrase that helps to recreate the whole picture as a whole and convey the fullness of its inner sensation. As Tolstoy said: “It seems that everything is said at once, it is said that the work is finished, everything has been removed, and a complete impression is obtained.” Such a "full impression" constantly arises when reading Tyutchev's poems. How not to recall in this connection the famous Tyutchev images: “exhausted” - about the rainbow. “mixed” - about shadows, “confuse the azure sky” - about a thunderstorm, “resolved into unsteady dusk, into a distant rumble” - about the colors and sounds of the evening day, etc.
The sound side of the poem never seemed to Tyutchev an end in itself, but the language of sounds was close and understandable to him.
There is melodiousness in the waves of the sea,
Harmony in natural disputes,
And a slender musical rustle
It flows in unsteady reeds.
Shades of gray mixed,
The color faded, the sound fell asleep ...
Rocks sounded around me like cymbals,
The winds called and the billows sang...
The reader hears in Tyutchev's poems the rumble of summer storms, the barely intelligible sounds of twilight, the rustle of unsteady reeds ... This sound recording helps the poet capture not only outer sides phenomena of nature, but their sensation, their sense of nature. The same purpose is served by bold colorful combinations in Tyutchev's poems ("hazy-linear", "radiant and gray-dark", etc.). Besides. Tyutchev has the gift of reproducing colors and sounds in the inseparability of the impression he makes. This is how “sensitive stars” appear in his poetry, and a sunbeam bursting through the window with a “ruddy loud exclamation”, communicating the dynamics and expression of Tyutchev’s poetic fantasy, helping to transform poetic studies from nature into such “landscapes in verse”, where visually concrete images are imbued with thought, feeling, mood, reflection.
Tyutchev's poetics comprehends the beginnings and foundations of being. It has two lines. The first is directly related to the biblical myth of the creation of the world, the second, through romantic poetry, goes back to ancient ideas about the world and space. The ancient doctrine of the origin of the world is constantly quoted by Tyutchev. Water is the basis of being, it is the main element of life:
Snow is still whitening in the fields,
And the waters are already rustling in the spring -
They run and wake up the sleepy shore,
They run, and shine, and say ...
And here is another excerpt from "Fountain":
Oh, water cannon of mortal thought,
Oh, inexhaustible water cannon,
What law is incomprehensible
Does it aspire to you, does it bother you?
Sometimes Tyutchev is frank and magnificent in a pagan way, endowing nature with a soul, freedom, language - the attributes of human existence:
Not what you think, nature:
Not a cast, not a soulless face -
It has a soul, it has freedom,
It has love, it has a language...
Nevertheless, Tyutchev is a Russian man and, consequently, Orthodox. His religiosity is undeniable.
Therefore, sometimes too frank pagan motives of his poetry should be regarded as a form of literary coquetry, but not as the true views of the author. tyuchev lyrics ovstug poetry
The truth lies deeper, in the inner content of his poetry. It often happens that in his poems the poet is more of a theologian than a philosopher.
How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Thought spoken is a lie.
Blowing up, disturb the keys, -
Eat them and be quiet.
These lines are more like the words of a church sermon than lyric poem. It is necessary to say a few words about the specific Tyutchev pessimism, which requires its own explanation. Thus, the poet's love often takes on a tragically sensual heavy connotation. Let us recall only the poem “I love your eyes, my friend”, which Tarkovsky used as a semantic code in the film “Stalker”:
And through lowered eyelashes
Gloomy, dim fire of desire.
Tyutchev's pessimism is deeply religious in nature. It is based on Orthodox ideas about the end of the world, on the book of Revelation of John, which concludes New Testament. Tyutchev draws his scenario for the end of the world:
When the last hour of nature strikes,
The composition of the parts will collapse earthly:
Everything visible will again be covered by water,
And God's face will be depicted in them.
It is not for nothing that a cry of prayer bursts from the depths of his soul, so reminiscent of lamentation:
All that I managed to save
Hope, faith and love
All merged into one prayer:
Survive, survive.
But Tyutchev has answers to his questions of being. God is watching over us. His eyes are stars, his power is great:
He is merciful, almighty,
He, warming with his beam
And a lush flower blooming in the air,
And a pure pearl at the bottom of the sea.
Tyutchev is absolutely sure of the existence of a “better, spiritual world” here and now: “There is in the initial autumn // A short but marvelous time ...”
Poetry is not pure philosophy. She thinks in images, not categories. It is impossible to isolate philosophy and present it separately from poetry. In Tyutchev, everything is fused at the level of an image-symbol, an image-sign:
There are twins - for terrestrial
Two deities, then Death and Sleep,
Like a brother and sister wonderfully similar -
She is gloomier, he is meeker ...
One of the central themes in Tyutchev's mature work was the theme of love. Love lyrics reflected his personal life, full of passions, tragedies and disappointments.
Soon after arriving in Munich (apparently in the spring of 1823), Tyutchev was in love with the still very young (15-16 years old) Amalia von Lirchenfeld. She came from a noble German family and was cousin Russian Empress Maria Feodorovna. Amalia was gifted with a rare beauty, she was admired by Heine, Pushkin, Nicholas I and others. The Bavarian King Ludwig hung her portrait in his gallery of beautiful women of Europe. By the end of 1824, Tyutchev's love for Amalia reached its highest intensity, which was expressed in the poem "Your sweet look, full of innocent passion ...".
In 1836, Tyutchev, who had been married for a long time, wrote one of his most charming poems, recreating the meeting with Amalia that struck his soul: "I remember the golden time ...". Beloved in this poem as a kind of focus of a whole beautiful world. The memory of the heart turned out to be stronger than both time and unceasing pain. And yet there is a sad feeling of withering in this elegy. It is in the fading of the day, and in the form of the ruins of the castle, and in the farewell of the sun to the hill, and in the burning of the sunset. This elegy reminds us of a poem by A.S. Pushkin "I remember a wonderful moment ...", dedicated to Anna Kern. The poems are addressed to the beloved woman and are based on the memory of an unusual meeting. Both masterpieces deal with transience wonderful moment and golden pores, which the memory imprinted. Thirty-four years later, in 1870, Fate gave Tyutchev and Amalia another friendly date. They met at healing waters in Carisbad. Returning to his room after a walk, Tyutchev wrote a confession poem “I met you ...” (there is a romance for these verses. I.S. Kozlovsky performed it superbly). The poem was titled "K.B." The poet Yakov Polonsky claimed that the letters denote the abbreviation of the words "Baroness Krudener".
In 1873, Amalia came to visit the paralyzed and dying Tyutchev. The next day, he dictated a letter to his daughter: “Yesterday I experienced a moment of vital excitement as a result of my meeting with my kind Amalia Krudener, who wished to see me for the last time in this world ... In her face, the past of my best years appeared to give me a farewell kiss. So Tyutchev put it about his first love.
In 1826, Tyutchev married the widow of a Russian diplomat, Eleanor Peterson, nee Countess Bothmer. Wife Eleanor infinitely loved Tyutchev. He also wrote a poem about his love for her when more than 30 years had already passed since the day of their wedding and exactly 20 years since the death of Eleanor.
So sweetly grateful
Airy and light
my soul a hundredfold
Your love was...
Tyutchev lived with Eleanor for 12 years. According to eyewitnesses, Tyutchev was so stunned by the death of his wife that, after spending the night at her coffin, he turned gray with grief. The poem "I am still languishing with longing for desires ..." is dedicated to Tyutchev's wife and was written 10 years after her death.
A number of sincere love confessions were addressed by Tyutchev and his second wife, Ernestina Fedorovna Tyutcheva, nee Baroness Pfeffel. One of the first beauties of that time, she was European-educated, spiritually close to the poet, well felt his poems, distinguished by stoic self-control and was extremely intelligent. “There is no creature in the world smarter than you,” Tyutchev wrote to her. The cycle of poems dedicated to Ernestina Tyutcheva includes such works as “I love your eyes, my friend ...” (1836), “Dream” (1847), “Upstream of your life” (1851), “She was sitting on the floor ... "(1858)," The executing God took everything from me ... "(1873), etc.
These poems strikingly combine earthly love, marked by sensuality, passion, even demonism, and an unearthly, heavenly feeling. There is anxiety in the verses, fear of a possible "abyss" that may appear before those who love, but the lyrical hero tries to overcome these abysses. Much more often in Tyutchev's love lyrics there is a feeling of an opened abyss, chaos, a stormy revelry of passions, a fatal beginning. Boundless happiness turns into tragedy, and the imperious attraction to the soul of one’s own turns into a “fatal duel”, an unequal struggle between “two hearts” (“Predestination”, 1850 - 1851). These features of the tragic were also reflected in the poem "Twins" (1850), where love is compared with suicide.
But the tragic-fatal duel appears most nakedly in the poet's amazing cycle of love lyrics "Denisiev" (1850 - 1868). These poems are autobiographical in nature. They reflect a fourteen year old love story poet and Elena Aleksandrovna Denisyeva, whose name gave the name to these lyrical masterpieces. In the relationship between Tyutchev and the former pupil of the Smolny Institute there was a rare combination of adoration and passion of love, mutual attraction and admiration, boundless joy and suffering. However, the value of these poems is not limited to the experience of the poet Tyutchev and a particular woman. The autobiographical beginning and the personal turns into the universal. The poems of this cycle often sound like a confession: “Oh, how deadly we love…”, “Don’t say: he loves me as before…”, “What did you pray with love…”, “I knew the eyes, - oh, these eyes ! ..”, “Last love”, “All day she lay in oblivion…” (1864), “Oh, this South, oh, this Nice…” (1864), “There is also in my suffering stagnation…” (1865) , “On the eve of the anniversary of August 4, 1864” (1865), “Again I am standing over the Neva ...” (1868) .
All these poems are filled with tragedy, pain, bitterness. lyrical hero; he is entangled in his relationship, dual position, there is a feeling of guilt in front of Denisyeva, torment and pain, longing and despair. Tyutchev gives a romantic concept of love. Love is an elemental passion. This is a clash of two personalities, and in this struggle, Deniseva suffers, burns out, like a weaker one. The lyrical heroine fades away, her soul is exhausted by the public censure of the world. Both Tyutchev and Denisyeva understood that Tyutchev was primarily to blame, but he did nothing to alleviate the fate of his beloved woman. She, passionately loving him, could not refuse this connection. The main ways of disclosure inner world hero - monologues. The cycle is characterized exclamatory sentences, interjections.
“All day she lay in oblivion ...” - the poem is dedicated to memories of the last hours of Denisyeva's life, the pain of the loss of a loved one sounds. Tyutchev recalls how on the last day of her life she was unconscious, and outside the window the August rain was falling, merrily murmuring through the leaves. Having come to her senses, Elena Alexandrovna listened for a long time to the sound of rain, realizing that she was dying, but still reaching out for life. The second part of the poem is a description of the situation and the state of the hero, heartbroken. The hero suffers, but the person, it turns out, can survive everything, only the pain in the heart remains. The poem is written in iambic, cross female and male rhyme, polyunion give the poem smoothness, the repetition of sounds [w], [l], [s] conveys the quiet rustle of summer rain. The poem is characterized by exclamatory sentences, interjections, dots convey the difficult state of mind of the hero. art trails: epithets (“warm summer rain”), metaphors (“and the heart didn’t tear to shreds ...”)
Ernestina Fedorovna Tyutcheva and Elena Alexandrovna Denisyeva are two stars, two women in Tyutchev's heart. He called them Carry and Lelya.
Tyutchev managed to raise the theme of love and images of beloved women to the same artistic heights as the theme of nature, personality and the world.
Let us summarize the above briefly: as a poet, Tyutchev is the continuer of the philosophical traditions of Russian poetry, which go back to Lomonosov, Kapnist, Derzhavin. His aesthetics influenced subsequent literature, his free or involuntary students are Solovyov, Annensky, a symbolic component of Russian lyrics. His philosophical views traditional. The talent of the master gives them novelty and brilliance.
“The one who does not feel him does not think about Tyutchev, thereby proving that he does not feel poetry,” Turgenev wrote this in his letter to A. A. Fet. Surprisingly, this remark is true now.
