Analysis of Tyutchev's poem "Leaves". Analysis of Tyutchev's lyric poem “Leaves. Analysis of Tyutchev's poem "I met you ...

Fedor Ivanovich Tyutchev was born on November 23, 1803 in the village of Ovstug, Oryol province, now the Bryansk region. He belonged to an old royal family. He received his initial education under the guidance of S. E. Raich. He was fond of classical poetry, early began to write poetry. At the age of fourteen, Tyutchev became an employee of the Society of Lovers of Russian Literature.

N. A. Polevoy spoke of Tyutchev as a poet who showed “brilliant hopes”. A. S. Pushkin reacted with “amazement and delight” to Tyutchev’s poems delivered to him from Germany and published them in Sovremennik. Critical articles by I. S. Turgenev and A. A. Fet, reviews by N. G. Chernyshevsky, N. A. Dobrolyubov, L. N. Tolstoy and others, although they expressed different ideological and aesthetic positions, on the whole testified to the recognition of Tyutchev’s true talent in literary circles.

As a poet, Tyutchev took shape at the turn of the twenties and thirties. The masterpieces of his lyrics belong to this time: “Insomnia”, “ Summer evening”, “Vision”, “The Last Cataclysm”, “How the Ocean Embraces the Globe”, “Cicero”, “Spring Waters”, “Autumn Evening” and others. Imbued with a passionate, intense thought and at the same time a keen sense of the tragedy of life, the lyrics of this poet artistically expressed the complexity and inconsistency of reality.

IN student years and at the beginning of his stay abroad, Tyutchev was under the influence of freedom-loving political ideas. The poem "To Pushkin's Ode to Liberty" is close to Russian civic romanticism. However, Tyutchev's free-thinking was of a moderate nature. The regime of “office and barracks”, “whip and rank”, which symbolized official Russia in the eyes of the poet, was unacceptable for him, but a violent struggle against him was also unacceptable. Hence the internal inconsistency of the poems. The growing feeling of imminent social shifts over the years, the consciousness that Europe has entered a new “revolutionary era”, contributes politically to the strengthening of Tyutchev’s conservative moods, to the development of his utopian idealized idea of ​​​​Nikolaev Russia, which supposedly is destined for a lofty historical mission. In the forties, the poet's political views acquire a pan-Slavic coloring: autocratic Russia, designed to unite all Slavic peoples, is conceived by him as a bulwark against the revolutionary West.

Tyutchev's conservative political views are combined with the restless spiritual and moral structure of his poetry. Fearing revolution, he is keenly interested in the "high spectacles" of social upheaval. The poet’s attitude is characterized by the words from the poem “Cicero” that have become winged: “Blessed is he who visited this world in its fatal moments!”. Referring himself to the "fragments of the old generations", he feels bitterness at the thought of his isolation from the "new, young tribe", of the impossibility of going with him "towards the sun and movement." He writes about this in the poems “Insomnia”, “Like a bird, early dawn”. In himself, the poet feels a “terrible bifurcation”, “double being”, which, in his opinion, is a distinctive feature of a person of his era.

Tyutchev's poetry is all saturated with anxiety. The world, nature, man appear in his poems in a constant clash of opposing forces, “among thunders, among fires, among seething passions, in spontaneous fiery discord”. The dialectical comprehension of reality - in incessant movement - characterizes the philosophical depth of the poet's lyrics. He shows a special attraction to depicting storms and thunderstorms in nature and in the human soul. “Harmony in spontaneous disputes” in the poem “There is melodiousness in the waves of the sea”, the poet contrasts the moral life of a person full of insoluble contradictions. In Tyutchev's poems, a person is doomed to a “hopeless”, “unequal” battle, a “cruel”, “stubborn”, “desperate” struggle with life, fate, and himself. However, fatalistic motifs in his poetry are combined with courageous notes, glorifying the feat of "inflexible hearts", strong in spirit natures. This is stated in the poem "Two Voices".

Like E. A. Baratynsky, Tyutchev - largest representative Russian philosophical lyrics: it responds to the age-old questions that worry the human mind. The artistic method of the poet, for all its originality, reflects the movement from romanticism to realism common to Russian poetry. The romantic worldview certainly determines the poetic style of Tyutchev in the twenties and thirties. The idea of ​​the universal animation of nature, of the identity of the phenomena of external and inner world due to the peculiarities figurative system and composition of the poet's poems. The correspondence of a person's mental states to natural phenomena is either emphasized by direct comparison, or it is guessed that gives the poems a symbolic meaning.

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1. F. I. Tyutchev is a brilliant lyricist, a deep philosopher. A wonderful master of poetic landscape, spiritualized, expressing the emotions of a person. Tyutchev's world is full of mystery....

The main theme of Tyutchev's poetry- man and the world, man and Nature. Tyutchev's researchers speak of the poet as a "singer of nature" and see the originality of his work in the fact that "for Tyutchev alone, the philosophical perception of nature constitutes to such a strong degree the very basis of the vision of the world." Moreover, as B.Ya. Bukhshtab, “in Russian literature before Tyutchev there was no author in whose poetry nature would play such a role. Nature is included in Tyutchev's poetry as the main object of artistic experiences.

The world in Tyutchev's view is a single whole, but not frozen in "solemn peace", but eternally changing and at the same time subject to eternal repetition in all its changes. Researchers talk about the "non-randomness" of "the poet's predilection for transitional phenomena in nature, for everything that brings change, which is ultimately associated with the concept of" movement ".

The originality of Tyutchev's landscapes is clearly seen in a poem created in the Ovstug family estate in 1846:

Quiet night, late summer
How the stars shine in the sky
As under their gloomy light
Dormant fields are ripening...
Soothingly silent,
How they shine in the silence of the night
Their golden waves
Whitened by the moon...

Analyzing this poem, N. Berkovsky accurately noted that it “rests on verbs: they glow - ripen - shine. It is as if a motionless picture of a July field night is given, and in it, however, verbal words beat with a measured pulse, and they are the main ones. The quiet action of life is conveyed ... From peasant labor bread in the fields, Tyutchev ascends to the sky, to the moon and stars, he connects their light into one with ripening fields ... The life of bread, the daily life of the world, takes place in deep silence. For the description, the night hour is taken, when this life is completely left to itself and when only it can be heard. Night hour it also expresses how great this life is - it never stops, it goes on during the day, it goes on at night, without change ... ".

And at the same time, the eternal variability of nature is subject to another law - the eternal repetition of these changes.

It is interesting that Tyutchev more than once calls himself "the enemy of space" in his letters. Unlike Fetov's landscapes, his landscapes are open not so much into the distance, into space, as into time - into the past, present, and future. The poet, painting a moment in the life of nature, always presents it as a link connecting the past and the future. This feature of Tyutchev's landscapes is clearly visible in Poem "Spring Waters":

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...

They say all over the place:
Spring is coming, spring is coming!
We are young messengers of Spring,
She sent us ahead!”

Spring is coming, spring is coming
And quiet, warm May days
Ruddy, bright round dance
Crowds cheerfully for her!..

This poem gives the whole picture of spring - from the early, March ice drift - to the warm, cheerful May. Everything here is full of movement, and it is no coincidence that the verbs of movement dominate: run, go, send, crowd. Persistently repeating these verbs, the author creates a dynamic picture of the spring life of the world. The feeling of joyful renewal, cheerful, festive movement brings not only the image of running water messengers, but also the image of a “ruddy light round dance”.

Often in the picture of the world that Tyutchev draws, the ancient image of the world, the pristine pictures of nature, clearly emerges behind the present. Eternal in the present, eternal repetition natural phenomena- this is what the poet is trying to see, to show:

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

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

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

Where does this incomprehensible rumble come from? ..
Or mortal thoughts liberated by sleep,
The world is incorporeal, audible, but invisible,
Now swarming in the chaos of the night?..

The feeling of the unity of world history, the “first day of creation” and the present, arises not only because the image of the world is dominated by images of “eternal” stars, a month, a key. The main experience of the lyrical hero is connected with the mysterious “rumble” he heard in the silence of the night - the “voiced” secret thoughts of mankind. The true, secret, hidden in daily life, the essence of the world is revealed to the lyrical hero, revealing the inseparability of the fundamental principle of the universe - ancient and eternal chaos - and instantaneous thoughts of people. It is important to note that the description of the beauty and harmony of the world in the first stanza appears as a "veil" over the true essence of the Universe - chaos hidden behind the "veil".

Tyutchev's understanding of the world in many ways turns out to be close to the ideas of ancient philosophers. It was no coincidence that A. Bely called Tyutchev an "archaic Hellene." The Russian poet in his understanding of the world, man, nature is "miraculously, strangely closely related" to the ancient ancient philosophers - Thales, Anaximander, Plato. His famous poem 1836 "Not what you think, nature" clearly reveals this relationship of worldviews:

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...

Representing nature as a single, breathing, feeling living being, Tyutchev turns out to be close to ancient thinkers, for example, Plato, who called the world in its entirety one visible animal.

Sharply speaking out against their opponents who do not recognize in nature Living being, Tyutchev creates the image of a breathing, living, thinking, speaking living being:

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

The image of nature in these verses is really “wonderfully close” to the ideas of the ancient philosophers about the breathing world (the idea of ​​Anaximenes), to the ideas of Heraclitus about the multitude of suns, which the ancient philosopher identified with the day, believing that a new sun rises every day.

Asserting his idea of ​​nature, Tyutchev speaks of the "voice" of nature, and of the inseparability of man from this world. This inseparability of the human "I" and the natural world also makes the poet related to the ancient philosophers and sharply separates him from those contemporaries who are not able to feel their merging with nature:

The rays did not descend into their souls,
Spring did not bloom in their chest,
With them, the forests did not speak,
And there was no night in the stars!

And with unearthly tongues,
Thrilling rivers and forests
At night I did not consult with them
In a friendly conversation, a thunderstorm!

In Tyutchev's poems, one can see other ideas that make it possible to call the poet of the 19th century an "archaic Hellene." Like Plato, he perceives the world as a grandiose ball and at the same time as “one visible animal”, accommodating all other animals, to which the ancient philosopher included the stars, which he called “divine and eternal animals”. This idea makes Tyutchev’s images understandable: “wet heads of the stars”, “head of the earth” - in the 1828 poem “Summer Evening”:

The hot ball of the sun
The earth rolled off its head,
And a peaceful evening fire
The sea wave swallowed.

The bright stars have risen
And gravitating over us
Heavenly vault lifted
With their wet heads.

At the same time, it is important to note that not only nature and man are full of life in Tyutchev's poetry. Living in Tyutchev is time (“Insomnia”, 1829), living are dreams (this is an element that rules over a person at night), alive and scary creature Madness appears, endowed with a “sensitive ear”, a brow, an “greedy ear” (“Madness”, 1830). Later, Russia will also appear as a living, special creature - a giant in Tyutchev's poems.

Researchers of Tyutchev's work have already noted the closeness of Tyutchev's and Thales' ideas about the world: first of all, the idea of ​​water as the fundamental principle of being. And indeed: the main elements that Tyutchev, like the ancient philosophers, recognizes as the primary elements of the universe: air, earth, water, fire, not only oppose each other, but are also capable of turning into water, revealing their own aquatic nature. This idea is clearly manifested in the poem "Summer Evening":

The airy river is fuller
Flowing between heaven and earth
The chest breathes easier and more freely,
Freed from the heat.

And sweet thrill, like a jet,
Nature ran through the veins,
How hot her legs
Key waters touched.

Here, water appears as the primary element of being, it also forms the basis of the air element, and fills the "veins" of nature, and, flowing underground, washes the "feet" of nature. Tyutchev strives to convey the feeling of a living stream, water jets, describing all the elements that make up the Universe:

Though I made my nest in the valley
But sometimes I feel
How life-giving at the top
Air jet running<...>
To inaccessible masses
I look for whole hours, -
What dew and coolness
From there they are noisily pouring towards us.

In Tyutchev’s poems, the moonlight streams (“I’m standing over the Neva again ...”), the air moves like a wave (“The biza has subsided ... It breathes easier ...”, 1864), solar jets are pouring (“Look how the grove is turning green ...”, 1854, “At the hour when it happens ...”, 1858), dusk pours into the depths of the soul (“Shadows of blue-gray mixed ...”, 1851). The metaphor of being itself also has a watery nature - it is the "key of life" ("K N.", 1824; "Summer Evening", 1828).

Natural phenomena are almost always humanized in Tyutchev's poems. The sun looks askance (“Reluctantly and timidly”, 1849), the evening breaks off the wreath (“Under the breath of bad weather ...”, 1850), “in the bunch of grapes / Blood sparkles through the thick greenery.” Among Tyutchev's metaphors are not only the already noted "wet heads of the stars", the head of the earth, the veins and legs of nature, but also the dead eyes of the Alps ("Alps"). The azure of heaven can laugh (“Morning in the mountains”), noon, like the sun, can breathe (“Noon”, 1829), the sea can breathe and walk (“How good you are, O night sea ...”, 1865). The natural world is endowed with its own voice, its own language, accessible to the understanding of the human heart. One of Tyutchev's motifs is a conversation, a conversation between natural phenomena among themselves or with a person ("Where the mountains are, running away ...", 1835; "Not what you think, nature ...", 1836; "How cheerful the roar of summer storms ...", 1851).

At the same time, nature is not an ordinary being. Among the constant epithets in Tyutchev's landscape poems are the words "magic" ("Smoke", 1867, etc.) and "mysterious" ("How sweetly the dark green garden sleeps ...", etc.). And almost always, natural phenomena are endowed with witchcraft power - the Enchantress Winter (“The Enchantress of Winter ...”, 1852), the sorceress winter (“Countess E.P. Rastopchina”), the cold-sorcerer (“Long, long ago, O blessed South ...”, 1837), the north-sorcerer (“I looked, standing over the Neva ...”, 1844). So, in one of the most famous Tyutchev poems, the Enchantress Winter endows the forest with fabulous beauty, immerses it in a “magic dream”:

Enchantress Winter
Bewitched, the forest stands -
And under the snowy fringe,
Motionless, dumb
He shines with a wonderful life.

And he stands, bewitched, -
Not dead and not alive -
Magically enchanted by sleep
All entangled, all bound
Light chain down<...>

Witchcraft explains the poet and the beauty of solar summer days("Summer 1854"):

What a summer, what a summer!
Yes, it's just witchcraft -
And how, please, was it given to us
So for no reason at all?..

The magical power of nature is also evidenced by its ability to enchant a person. Tyutchev writes precisely about the “charm” of nature, its “charm”, moreover, the words “charm” and “charm” reveal their original meaning: to seduce, enchant. The old word "obavnik" (charm) meant "sorcerer", the caster of "charm". Nature has charm, that beauty that subjugates the heart of man, attracts him to natural world, bewitches him. So, recalling the "magic" forest, Tyutchev exclaims:

What a life, what a charm
What a sumptuous, luminous feast for the senses!

The same word conveys all the beauty of the night Neva:

No sparks in the blue sky
Everything was quiet in a pale charm,
Only along the thoughtful Neva
The moonlight is flowing.

But, in turn, nature itself is able to experience the spell of higher forces, also endowed with the ability to "perfect charm":

Through the azure dusk of the night
The snowy Alps look;
Their dead eyes
They are smitten with icy horror.

Charmed by some power,
Until the dawn rises
Dozing, menacing and foggy,
Like fallen kings!

But the East will only turn red,
Spell disastrous end -
The first in the sky will brighten
Brother of the elder crown.

The amazing beauty of nature can appear as the effect of witchcraft forces: “At night they quietly flame / Multi-colored lights. / Enchanted nights, / Enchanted days.”

The life of the world, nature in Tyutchev's poetry is subject not only to mysterious witchcraft, but also to the game of higher forces incomprehensible to man. "Game" is another characteristically Tyutchevian word in his landscapes. The verb "play" almost invariably accompanies Tyutchev's descriptions - both of natural phenomena and of man. At the same time, “play” is understood as the fullness of vitality, and not as acting (or “acting”). A star plays (“On the Neva”, 1850), nature (“ snowy mountains”, 1829), life (“It flows quietly in the lake ...”, 1866), a young, full of strength girl plays with life and people (“Play as long as you are above ...”, 1861). Plays - thunder (in the most probably famous Tyutchev poem):

I love the storm in early May,
When the first spring thunder
As if frolicking and playing,
Rumbles in the blue sky.

The young peals are thundering,
Here the rain splashed, the dust flies,
Rain pearls hung,
And the sun gilds the threads.

An agile stream runs from the mountain,
In the forest, the din of birds does not stop,
And the noise of the forest, and the noise of the mountains -
Everything echoes cheerfully to the thunders.

You say: windy Hebe,
Feeding Zeus' eagle
A thundering cup from the sky
Laughing, she spilled it on the ground.

In this poem, “game” is the central image: heavenly forces, thunder and sun play, birds and a mountain spring merrily echo them. And all this joyful play of earthly and heavenly powers appears as a consequence of the game of the goddess Hebe, the goddess of eternal youth. It is characteristic that in the early version there was no image of a “game”: the thunder only “rumbled” cheerfully, although the poet expressed the feeling of the fullness of life, the fullness of natural forces in the original version of the text:

I love the storm in early May,
How fun spring thunder
From edge to edge
Rumbles in the blue sky.

But the completeness, the integrity of this picture of the spring riot of forces is given precisely by the image of the “game”, uniting the earthly and heavenly, natural and divine worlds into a single whole.

Playing nature is a motive, which is also based on the representation of nature by a living being. But, it is important to note that “play” is a property of only higher powers. The antithesis of the "game" of nature, the fullness of its vitality is "sleep" - a property of a more primitive world. The mountains and the sky are playing - the earth is slumbering:

It's already midday
Shooting with sheer rays, -
And the mountain smoked
With their black forests.

<...>And while half asleep
Our valley world, devoid of strength,
Permeated with fragrant bliss,
In the mist of midday he rested, -

Woe, like native deities,
Above the dying earth
Ice heights play
With azure sky fiery.

As the researchers of Tyutchev's work rightly noted, the poet paints a thunderstorm more than once. Perhaps because the thunderstorm embodies that state natural life when you see "a kind of excess of life" ("There is silence in the stuffy air ..."). Tyutchev is especially attracted - both in the life of nature and in human life, the feeling of the fullness of being, when life is full of passions and "fire", "flame". That is why the ideal human existence for Tyutchev it corresponds to combustion. But in Tyutchev's late lyrics, a thunderstorm is perceived not as a game of gods and elements, but as an awakening of demonic natural forces:

The night sky is so gloomy
Clouded from all sides.
It's not a threat and not a thought
It's a sluggish, hopeless dream.

Some lightning bolts,
flaming in succession,
Like dumb demons
They have a conversation among themselves.

It is no coincidence that in this poem there are no images of playing nature and playing gods. Thunderstorm is likened to its antithesis - sleep, sluggish, bleak. It is also no coincidence that nature loses its voice: a thunderstorm is a conversation of deaf-mute demons - fire signs and ominous silence.

Tyutchev, like the ancient philosophers, reveres Enmity and Love as the main elements of being. Higher power most often hostile to humans. And among themselves the phenomena of nature are in open and hidden enmity. Tyutchev's worldview can be conveyed with the help of his own images: the poet seeks to show "unification, combination, fatal merging and fatal duel" of all the forces of being. Winter and Spring are at enmity with each other (“Winter is not without reason angry ...”), west and east. But at the same time they are inseparable, they are parts of a single whole:

Watch the west blaze
Evening glow of rays,
The fading East is dressed
Cold, gray scales!
Are they at enmity with each other?
Or the sun is not one for them
And, motionless environment
Delya does not unite them?

Enmity does not cancel the feeling of the unity of being, its fusion: the Sun unites the world, the beauty of the world has a source - Love:

The sun is shining, the waters are shining,
A smile on everything, life in everything,
The trees tremble with joy
Swimming in the blue sky

The trees sing, the waters sparkle,
Love dissolves the air
And the world, the blooming world of nature s,
Intoxicated with excess of life<...>

In this poem, one of the features of Tyutchev's landscapes was clearly manifested: the constant verbs involved in the description of nature become “shine” or “shine”. These verbs in Tyutchev carry a special semantic load: they affirm the idea of ​​unity - fusion, fusion of water and light, nature and the sun, every natural phenomenon and the sun:

All day, like in summer, the sun warms,
The trees are gleaming,
And the air is a gentle wave,
Their splendor cherishes the decrepit.

And there, in solemn peace,
Undressed in the morning
Shining white mountain
Like an unearthly revelation.

The same meaning and the same ideal values also contains the epithet "rainbow" or the synonymous "fire-colored". They mean the absolute fusion of earth and sky, sun and earthly nature.

Clearly feeling nature as some kind of eternal, living force, Tyutchev seeks to look behind the veil that hides it. Every natural phenomenon reveals this living creature:

Not cooled by the heat,
The night of July shone...
And over the dull earth
A sky full of thunder
Everything in the lightning trembled ...

Like heavy eyelashes
Rising above the ground
And through the fugitive lightning
Someone's formidable apples
They lit up...

Addressing A.A. Fet, Tyutchev wrote in 1862: “Beloved by the Great Mother, / Your lot is a hundred times more enviable - / More than once under a visible shell / You saw her very thing ...”. But he himself was fully characterized by this ability to "see" the Great Mother - Nature, her secret essence under the visible shell.

The invisible force behind every natural phenomenon can be called Chaos. Like the ancient Greeks, Tyutchev perceives him as a living being. This is the fundamental principle of being, hidden in the daytime life by the thinnest cover and awakening at night and in bad weather in nature and in man. But Tyutchev himself does not poetize Chaos, he correlates the ideal of the world order with another concept - "system", i.e. with harmony:

There is melodiousness in the waves of the sea,
Harmony in natural disputes,
And a slender Musiki rustle
It flows in unsteady reeds.

An imperturbable system in everything,
Consonance is complete in nature<...>

It is the absence of this “order” in the life of a person - a “thinking reed” that causes the bitter reflection of the poet. Calling a person a “thinking reed”, the poet emphasizes his kinship with nature, his belonging to it, and at the same time his special place in the natural world:

Only in our ghostly freedom
We are aware of our discord.

Where, how did the discord arise?
And why in the general choir
The soul does not sing like the sea,
And the thinking reed grumbles.

"Musical" images (melodiousness, choir, musical rustle, consonance) convey the essence of the mysterious life of the world. Nature is not only a living, breathing, feeling, unified being, but internally harmonious. Each natural phenomenon is not only subject to the same laws for all, but also to a single system, a single harmony, a single melody.

However, Tyutchev also poeticizes the violation of the “eternal order”, when the “spirit of life and freedom”, “inspiration of love” breaks into the “strict rank” of nature. Describing the "unprecedented September" - the return, the invasion of summer, the hot sun in the autumn world, Tyutchev writes:

Like a strict order of nature
I gave up my rights
Spirit of life and freedom
Inspiration of love.

As if forever inviolable,
The eternal order was broken
And loved and loved
The human soul.

Among the constant images used by the poet in his description of natural phenomena, one can name a “smile”. For the poet, a smile becomes the embodiment of the greatest intensity of life - both man and nature. A smile, like consciousness, is a sign of life, a soul in nature:

In this gentle glow
In this blue sky
There is a smile, there is consciousness,
There is a sympathetic reception.

It is interesting to note that Tyutchev seeks to show the world, as a rule, at the two highest moments of his life. Conventionally, these moments can be designated as a “smile of ecstasy” and a “smile of exhaustion”: the smile of nature at the moment of an overabundance of strength and the smile of exhausted nature, the smile of farewell.

The smile of nature is the true essence of nature. Researchers note that in Tyutchev's lyrics one can find, as it were, different images of the world: a harmonious world, pierced by the sun, the world of the dead, frozen, a formidable, stormy world in which chaos awakens. But another observation seems just as accurate: Tyutchev strives to capture the world in its highest moments. Such higher moments are flowering and decay - birth, rebirth of the world in spring and autumn decay. Both worlds are full of "charm": the exhaustion, fatigue of nature is just as invariable the theme of Tyutchev's poetry as the spring revival. But, an important detail, Tyutchev, trying to convey the charm of nature, speaks of her smile - triumphant or tired, farewell:

I look with compassion,
When, breaking through the clouds,
Suddenly through the trees dotted
With their decrepit leaves exhausted,
A lightning beam will splatter!

How fading cute!
What a beauty in it for us,
When that so blossomed and lived,
Now, so feeble and feeble,
Smile for the last time!

Equally significant for Tyutchev is the ability of nature to cry. Tears are the same sign of true life for Tyutchev as a smile:

And holy tenderness
With the grace of pure tears
It came down to us like a revelation
And everything resonated.

Fyodor Ivanovich Tyutchev is one of the most famous representatives of the heyday of Russian poetry. The main themes of his lyrics are love and the sensations that accompany a person in this: admiration, falling in love, drama, sublimity and inspiration. The lyrics of Fyodor Ivanovich are especially different from others in a melodious manner - this was the reason that many of the poet's poems were set to music for the performance of romances. One of them is the work "I met you - and all the past ...".

Tyutchev's poem "I met you ..." has truly significant place in his work. The hero of the poem feels everything that many young people experience when they fall in love, that's why it is so light and airy, it revives some kind of joyful excitement in the soul. The main thing in this poem is that the hero experiences those feelings that are understandable to everyone.

This lyrical work has very real implications. Fyodor Ivanovich met a girl in his youth, and a tender, ardent feeling. But at the behest of her parents, she had to marry a rich man with a respected rank. Many years later, the lovers met again, which gave the poet a reason to write the poem "I met you ...", or rather, a description of what he felt.

True, there is another version. The poem was supposedly born not after a meeting with Amalia, but after a fleeting meeting with Clotilde von Bothmer. Clotilde is Native sister the first wife of Fyodor Ivanovich, whom he had known for a very long time and who lived near the poet's resting place. However, this version is not as widely known as the first.

Means of artistic expression

The lightness of the style in which the poem “I met you ...” is written also ensures the simplicity of its perception and reading, evoking bright and relaxed feelings. The abundance of verbs gives rise to the movement of the poet’s soul, something in it changes with the words “long-forgotten ecstasy”, “spiritual fullness” ... Verbs make it possible to imagine the image of a light breeze that inspires change, movement.

In the poem, Tyutchev uses many artistic and expressive means that show the depth of feelings and sincerity of the hero's emotions. Among them, the first place is occupied by metaphors and personifications: the poet recalls the past with warmth, his heart came to life, even life itself spoke. He compares the meeting with a reunion after a century of separation, time is golden, such female features familiar to him are gentle - this is proof of the abundance of colorful epithets.

Tyutchev skillfully wields inversion: he swaps "sounds" and "heard steel", instead of "days" he puts "there are." Also in the last verse there is a repetition of the first words, which highlights the more emotional parts - this is a sign of anaphora.

Composition and meter of the verse

The poem itself consists of five quatrains, each of which is a certain step in the "revival" of the author's soul. The first tells about the very moment of the meeting and about what feelings it aroused in the chest of the narrator. In the second - memories of the past, which in the third quatrain already echo the present. The fourth is the climax, the peak of the hero's sensations, when he admits that nothing has died, and affection is still alive in him. In the last quatrain, life inside the poet blooms with a beautiful fresh rose, like what he experiences - “And the same love in my soul!” is a complete awakening.

In the poem "I met you ..." cross rhyme. The first and third lines are female, the second and fourth are male rhymes. Almost all quatrains end with an ellipsis, even the last one with a combination of an ellipsis and exclamation point. The poem is written in two-syllable meter - iambic.

Subject

The main theme of the poem "I met you ..." is the revival of love for life in the human soul and happiness, warm memories of the past, which, however, will remain the past. The hero of the poem is a young man, or rather a man, as if tired of himself. Feelings in him are almost dead, they have dulled over time and weakened. For him, life is now static, unchanging, measured and calm. But an unexpected meeting turns his world upside down, reviving the long-forgotten in him. He once loved this girl, truly lived with her, experienced ardent passion and tenderness. This meeting is a meeting with his own youth, when he still felt something and gave a lively response to every slight change. She excited him. Tyutchev subtly characterizes the excitement young man: everything was so simple and unchanged, when suddenly ... the heart came to life again.

The lyrical work "I met you ..." is a story about spiritual transformations, fleeting and fast, incredible, significant. Memories encourage him to understand that he wants to live, breathe again, feel, rejoice, hope for happiness and inspiration.

Symbols and images

The inner metamorphoses of the hero of the poem are like the seasons: autumn is his old age, spring is reborn youth. This is autumn, into which spring suddenly breaks in - and everything beautiful wakes up, forcing the hero to turn back to the “golden time”.

There is a dream motif in the poem - it manifests itself in the fourth quatrain: "I look at you, as if in a dream." This line serves as a kind of transition, in addition to this, it indicates the significance of what is happening, emphasizes how unexpected it is. The reader sees that the lyrical hero is not yet dead inside, as it might seem that he is ready to feel emotions - in particular, he is open to love.

Fedor Ivanovich Tyutchev is a master of artistic expression and an outstanding poet. He managed through a poem to explain the feelings of young lovers, plunged into memories of a happy past. In this he was helped by the fact that he was guided by his own feelings and described them. Through the poem “I met you,” the poet shows that love knows no time frames, and all ages are submissive to it.

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Literary critics rightly call the lyrics of Fyodor Ivanovich Tyutchev the poetry of feelings. In his works, the poet persistently seeks - and finds! - ways of expressing the feelings and moods that take possession of him in different situations. At the same time, with ingenious intuition, from the very depths of the soul, he captures the diversity of manifestations and the uniqueness of the movements of his emotions. Tyutchev's poems are full of pathos, creative burning, lit by a torch of thought and a fire of passions. The passions that take possession of the poet are delight, suffering, love, collided in a “fateful duel”. A different approach is unacceptable for Tyutchev.

As a philosopher, he made a daring attempt to unravel the mysteries of the universe through not cold and dry conclusions, but ardent artistic interpretation. The artistic solution of philosophical problems has always been reduced for the poet to the understanding of two opposing worlds - the microcosm and the macrocosm, the human self and nature. Despite the apparent difference in size (“micro” and “macro”), both worlds are boundless: “Everything is in me and I am in everything.” Such a lyrical mood helped the poet to speak with simple, but at the same time accurate and sincere words about his native nature through the prism spiritual world person. In Tyutchev's poems, the transparency of the air of the "original autumn" is felt, thunder is heard in the first spring thunderstorm, "rain pearls" glisten on the web. These colors, sounds and images are revealed to the reader in the works “There is in the initial autumn ...”, “Leaves”, “Spring waters”, “Spring thunderstorm”. For Tyutchev, the arrival of spring is accompanied by ringing, fun and general jubilation (“Winter is not without reason angry ...”). material from the site

L. N. Tolstoy drew attention to the fact that the poet most often does not complete the description of any image, allowing the reader's imagination to complete the rest. Tyutchev's poetry is a continuous dialogue with the reader, a call for reflection. An outstanding contemporary of Tyutchev, A. A. Fet, assessing the significance of his poetry, said about the most complete collection of poems (1854), that this book, modest in volume, "volumes are much heavier."

It was largely devoted to the theme of love, reflecting the personal life of the poet himself, full of passions and disappointments. The poem “I met you” belongs to the late period of creativity, which is rightfully included in the treasury of Russian love lyrics. Wise in life, Tyutchev wrote it in his declining years (at the age of 67), on July 26, 1870 in Karlsbad.

The poem, created under the impression of a meeting with the poet's former love, the "young fairy" Amalia Lerchenfield, describes the feelings of a person who has again met with his happy past. The addressee of the poem is encrypted with the initials "KB", which mean the woman's name rearranged - Baroness Krudener.

In a romantic poem, the poet combines odic and elegiac intonations. The poem is related to elegy the image of a lyrical hero, with an ode - the spiritual problems of the work and the active use of high book vocabulary ( "will start", "will blow"). The iambic tetrameter with pyrrhic gives an amazing melody to the poem. Tyutchev uses cross-rhyming, alternating between feminine (1st and 3rd lines) and masculine (2nd and 4th lines) rhymes.

For a small work, written in the form of a lyrical passage, the poet chose a two-part composition. In the first part, Tyutchev says that after an unexpected meeting, the ice melted in his heart, and his heart plunged into an amazingly beautiful world of happiness, "in time of gold". Line "I remembered the golden time" refers to an early poem by the poet "I remember the golden time"(1836), also dedicated to Amalia.

In the second stanza, a description of nature appears in spring, compared with the youth of a person. Tyutchev contrasts autumn (his age) with spring (youth). How spring awakens nature from hibernation, and love awakens the poet to life, filling him with energy and love of life. With a meeting with his beloved, spring comes to the poet, reviving the soul.

The image of the beloved who inspired the poet in the poem is implicit, blurred. Only a feeling of admiration and gratitude is captured, permeating the entire work.
The poem is distinguished by a rich sound organization built on contrast. The alliteration (s-s, d-t, b-p) and assonance (o, a, e) used in the work convey the subtlest movements and impulses human soul, reflecting all the tenderness, awe and depth of feelings of the poet.

Rhythmic pauses and dots leave space for the unsaid, giving a special intimacy to the poem. The work is distinguished by the richness of poetic intonations characteristic of Tyutchev and the emotional coloring of vocabulary. Despite the presence of words painted in sad tones ( late autumn, obsolete, forgotten), in the poem “I met you”, tender, emotionally elevated vocabulary prevails ( charm, cute, ecstasy).

The work is full of stylistic figures and paths. The poet uses an anaphora There is more than one thing here..//Life is here..., And the same...// And the same...), repetitions, spring-autumn antithesis, parallelism, gradation ( there are days, there are times).

The lyrical world of Tyutchev is surprisingly rich: metaphors ( "the whole is covered with a breeze", "my heart is so warm"), epithets ( "lost heart", "secular separation"), personifications ( "here life spoke again", “everything that was in the obsolete heart came to life”) give a special artistic expressiveness to the poem. Tyutchev skillfully compares the world of nature and the world of the human soul, spiritualizing all manifestations of life.

Memories give inspiration and hope, while love revives the feeling of "fullness of life." Tyutchev's surprisingly pure and sincere poem proves that, regardless of age, the human heart and soul do not age. The great and eternal power of love revives a person: "Life spoke again" which means life will go on.

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