"Philosophical lyrics of Tyutchev

(1 option)

The central theme of the work of Fyodor Ivanovich Tyutchev, for the first time in the history of Russian literature, is the “ultimate foundations of being”, social issues of the world order. The lyrical hero of his poetry is not considered an exponent of some conditioned philosophical theory; he simply asks “damned” questions that have no answers: what is a person? Why was he thrown into the world? Why was nature itself created? What is the mystery of natural existence? The tragic feeling of the futility of the ideological search is reflected in the famous Tyutchev quatrain:

Nature - sphinx. And the more faithful she is

His temptation destroys a person,

What may happen, no longer

There is no riddle and she never had one.

F.I. Tyutchev, in my opinion, was one of the most insightful poet-philosophers in Russian literature. His poems cannot be called lyrics in their pure form, because they express not just the feelings of the lyrical hero, but, above all, philosophical system author-thinker. The poet "needs to extract from the world everything that corresponds to his nature." In the philosophical poetic works of Fyodor Tyutchev, in contrast to philosophical treatises, there is not a development of thought, not a detailed argument confirming it, but its designation, the declaration of an idea that is expressed in words in poetry, that is, a complex of thoughts is given in experience, in emotional, artistic , “tactile” images. The content of being is revealed directly through images.

Not what you think, nature:

Not a cast, not a soulless face

She has a soul, she has freedom,

It has love, it has language...

In a number of Tyutchev’s poems, nature is truly animated: streams “speak” and “foreshadow”, a spring “whispers”, the tops of birch trees “rave”, the sea “walks” and “breathes”, the field “rests”. On the other hand, the author talks about nature’s deafness to the pleas of its children, about its indifference both to the death of a person and to his sufferings and passions.

Let's compare Tyutchev's poem "From the life that raged here..." with Pushkin's philosophical elegy "Again I visited...". Like Tyutchev, Pushkin writes about the inexorable rush of time allotted to man (“... a lot has changed in life for me,” “... I myself have changed”), about the majestic leisurely nature (“... it seems like I was still wandering in these groves in the evening”) . But Pushkin associates with the images of trees the idea of ​​continuity of generations and, associated with it, the idea of ​​​​the immortality of all being - both natural and human: how a tree continues itself in other trees (“young grove”, “green family” is crowded near “obsolete” roots pines), so a person does not die in his descendants. Hence the philosophical optimism of the final part of the poem:

Hello tribe

Young, unfamiliar! not me

I will see your mighty, late age...

Tyutchev's trees personify the dispassion, self-sufficiency of nature, its indifference to the spiritual life of people:

They show off, they make noise, and they don’t care,

Whose ashes, whose memory their roots dig.

Nature is not just devoid of soul, memory, love - it, according to Tyutchev, is above the soul, and love, and memory, and man, as a creator is above his creation:

... in front of her we are vaguely aware

Ourselves are just a dream of nature.

Here, as in a number of other poems, the motif of the abyss (chaos) sounds - one of the key motifs of Tyutchev’s lyrics. In the poem “From the life that raged here...” the abyss is thought of as one of the parts or one of the functions of the physical world. The poet writes with eerie irony:

Nature does not know about the past...

One by one all your children,

Those who accomplish their useless feat,

She equally greets her

An all-helping and peaceful abyss.

In Tyutchev’s creative heritage there are many bright and joyful poems, which express reverent, enthusiastic feelings evoked by the beauty of the world (“Spring”, “ Summer evening", "Morning in the Mountains", "No, my passion for you...", "Winter is angry for a reason...". This is the famous "Spring Storm", filled with triumphant intonations, the jubilant sound of a symphony of colors and sounds, the energy of life renewal:

Young peals thunder,

The rain is splashing, the dust is flying,

Rain pearls hung,

And the sun gilds the threads.

However, the existence of man in the world, the existence of nature itself is perceived by the poet as a prologue to an inevitable catastrophe. Hence the tragic sound of the poet’s poems such as “Vision”, “Insomnia”, “How the Ocean Envelops the Globe”. In "Insomnia" Tyutchev paints an image of time. At the beginning of the poem, the “monotonous chiming of the clock” is interpreted as the “dull groaning” of time, as its language, “equally alien and intelligible to everyone”; at the end - like a “metal funeral voice”. A reminder of the inexorable movement of time makes a person see himself (and humanity as a whole) standing “at the edge of the earth”, to feel his existential loneliness in the world (“...we... are abandoned to ourselves”).

The real meaning of chaos in the lyrics of F. I. Tyutchev is the danger of destruction, the abyss through which one must pass in order to achieve absolute fusion with the universe. The melancholy that takes over when encountering unclear manifestations of chaos is despondency and fear of death, horror of destruction, but bliss is achieved in overcoming them. In the lyrics of F. I. Tyutchev, the reflection is figuratively formulated that the element of disorder allows us, in contact with it, to comprehend the entire depth of the abyss that fences us off from truly universal existence, the idea that evil and sin are not considered the antitheses of good and holiness - this is everything -just stages to comprehend the truth. The poet finds the contrast between chaos and the perfect beginning of the universe not in the images of “day and night,” but in the images of silence and tranquility. Heat, rebellion and their collision with silence, tranquility - this is a collision of the attractive and violent beauty of life with the calm and clear beauty of powerlessness and dying. Consequently, chaos is the embodiment of overcoming everything earthly and perishable. This means that in the lyrics of F. I. Tyutchev, “the very night soul of Russian poetry,” the virgin beauty of the divine world is revealed to us, embracing everything that exists - living and dead, disorder and harmony, in the battle between which flows “evil life with its rebellious "heat":

Damage, exhaustion, and everything

That gentle smile of fading,

What in a rational being we call

The sublime modesty of suffering.

(Option 2)

Tyutchev, like most of Russian society in the 20s. XIX century, showed interest in classical German philosophy, in particular in the philosophy of Schelling. From this passion, motifs appeared in Tyutchev’s lyrics for connecting the particular with the general, comparing the soul and the cosmos (in the poem “The gray shadows mixed ...” you can see the following line: “Everything is in me and I am in everything”).

Tyutchev is, first of all, a lyricist, and of a romantic-philosophical direction. He fundamentally did not allow sociality in his poems, and that is why so much attention is paid in them to reflections on “eternal questions.” The basis of his lyrics can be considered an understanding of the world as a combination of harmony and chaos. From this system (harmony-chaos) one can distinguish the motive of life and death; in particular, the poet was very interested in the question of immortality. According to Tyutchev, immortality is granted only to the gods, “their immortality is alien to labor and anxiety” (“Two Voices”), while mortals are destined to struggle. Only those mortals “who visited this world in its fatal moments,” who witnessed “sublime spectacles,” can be admitted to the divine council and become immortal (“Cicero”).

What will remain after them, the fighters, on earth? Tyutchev is silent about human memory, but emphasizes that nature is indifferent to absolutely everyone (which is an important motive in Tyutchev’s philosophical lyrics).

Nature knows and does not know about the past,

Our ghostly years are alien to her,

And in front of her we are vaguely aware

Ourselves are just a dream of nature.

("From the life that raged here...")

In general, Tyutchev’s nature deserves a special mention. In each of the poems it is present in one form or another, but, basically, it is not a passive landscape, but a living one, acting force. Often this force is directed against a person (or, as mentioned above, is indifferent to him). Tyutchev points out man’s helplessness before nature:

Before the elemental enemy force

Silently, hands down,

The man stands sadly

Helpless child.

("Fires")

For nature, violence is a normal state, but for humans it brings death. It is noteworthy that in the above poem the man stands “silently, hands down” - this proves that he cannot do anything, the elements of nature are beyond his control, and what a person cannot cope with is chaos for him. Therefore, even when nature itself is harmonious, there is “complete consonance in nature” (“There is melodiousness in the sea waves...”), he turns out to be out of harmony with nature.

But Tyutchev also considers nature from the other side. In his opinion, its phenomena, the movements occurring in it, like nothing else, are suitable for expressing own feelings(one cannot fail to notice in this understanding of man’s relationship with nature the typical principle of romanticism).

Thus, in love lyrics, the following feature can be noted: Tyutchev sees similarities between some moments in life and some events in nature. For example, a meeting with ex-lover, which awakened old feelings, is likened by Tyutchev to the days of late autumn, “when suddenly it feels like spring” (“KB”). Characteristic of Tyutchev is complete identification natural phenomena(including the time of day) with this or that feeling or something related to the person as a whole. In the poem " last love“The poet equates “last love” with the “dawn of the evening”; in the poem “I knew with my eyes...” he sees in the eyes of “a magical, passionate night.” In addition, Tyutchev’s love lyrics is notable for the fact that the motif of harmony and chaos also shines through in it. The first has already been said (feelings, passions give rise to life), and chaos lies in the destructiveness of passions, as, for example, in the poem “Oh, how murderously we love...”.

In harmony or chaos, a person is doomed to loneliness, which, however, does not oppress him. Tyutchev has a popular motif “man and society,” but this opposition does not take on the usual social meaning. Tyutchev’s misunderstanding is due to the fact that “another’s soul is dark”; the feelings of another, according to the poet, cannot be seen. There is only one reason: “A thought expressed is a lie” (this idea is paraphrased by many romantic poets, such as Zhukovsky: “And only silence speaks clearly”). This line is from the poem “Silentium!”, which has become a kind of hymn to loneliness.

How can the heart express itself?

How can someone else understand you?

Will he understand what you live for?

Tyutchev promotes silence, self-isolation, a kind of egocentrism. In his opinion, a person should be able to “live within himself”:

There is a whole world in your soul

Mysteriously magical thoughts, -

And this one inner world contrasted with external, “external noise”. It seems that this poem can be compared, in general, with the peculiarity of Tyutchev’s work: the poet, as already noted, fundamentally did not pay attention to social topics in his poems, firstly, and secondly, he wrote for himself, and he did not care it matters whether they read it or not. This is probably why his poems are so deep and filled with philosophical reasoning.

The central theme of the work of Fyodor Ivanovich Tyutchev, for the first time in the history of Russian literature, is the “ultimate foundations of being”, social issues of the world order. The lyrical hero of his poetry is not considered an exponent of some conditioned philosophical theory; he simply asks “damned” questions that have no answers: what is a person? Why was he thrown into the world? Why was nature itself created? What is the mystery of natural existence? The tragic feeling of the futility of the ideological search is reflected in the famous Tyutchev quatrain:
Nature is a sphinx. And the more faithful she is
His temptation destroys a person,
What may happen, no longer
There is no riddle and she never had one.
F.I. Tyutchev, in my opinion, was one of the most insightful poet-philosophers in Russian literature. His poems cannot be called lyricism in its pure form, because they express not just the feelings of the lyrical hero, but, above all, the philosophical system of the author-thinker. The poet “needs to extract from the world everything that corresponds to his nature.” In the philosophical poetic works of Fyodor Tyutchev, in contrast to philosophical treatises, there is not a development of thought, not a detailed argument confirming it, but its designation, the declaration of an idea that is expressed in words in poetry, that is, a complex of thoughts is given in experience, in emotional, artistic , “tactile” images. The content of being is revealed directly through images.
On the one hand, the author points to the presence of higher spiritual principles in natural existence:
Not what you think, nature:
Not a cast, not a soulless face
She has a soul, she has freedom,
It has love, it has language...
In a number of Tyutchev’s poems, nature is truly animated: streams “speak” and “foreshadow”, a spring “whispers”, the tops of birch trees “rave”, the sea “walks” and “breathes”, the field “rests”. On the other hand, the author talks about nature’s deafness to the pleas of its children, about its indifference both to the death of a person and to his sufferings and passions.
Let’s compare Tyutchev’s poem “From the life that raged here...” with Pushkin’s philosophical elegy “Again I visited...”. Like Tyutchev, Pushkin writes about the inexorable rush of time allotted to a person (“... a lot has changed in life for me,” “... I myself... have changed”), about the majestic leisurely nature (“... it seems like I was still wandering in these groves in the evening”) . But Pushkin associates with the images of trees the idea of ​​continuity of generations and, associated with it, the idea of ​​​​the immortality of all being - both natural and human: how a tree continues itself in other trees (“young grove”, “green family” is crowded near “obsolete” roots pines), so a person does not die in his descendants. Hence the philosophical optimism of the final part of the poem:
Hello tribe
Young, unfamiliar! not me
I will see your mighty, late age...
Tyutchev's trees personify the dispassion, self-sufficiency of nature, its indifference to the spiritual life of people:
They show off, they make noise, and they don’t care,
Whose ashes, whose memory their roots dig.
Nature is not just devoid of soul, memory, love - it, according to Tyutchev, is above the soul, and love, and memory, and man, as a creator is above his creation:
... in front of her we are vaguely aware
Ourselves are just a dream of nature.
Here, as in a number of other poems, the motif of the abyss (chaos) sounds - one of the key motifs of Tyutchev’s lyrics. In the poem “From the life that raged here...” the abyss is thought of as one of the parts or one of the functions of the physical world. The poet writes with eerie irony:
Nature does not know about the past...
One by one all your children,
Those who accomplish their useless feat,
She equally greets her
An all-helping and peaceful abyss.
In Tyutchev’s creative heritage there are many bright and joyful poems that express reverent, enthusiastic feelings evoked by the beauty of the world (“Spring”, “Summer Evening”, “Morning in the Mountains”, “No, my passion for you...”, “Winter No wonder he’s angry..."). This is the famous “Spring Storm”, filled with triumphant intonations, the jubilant sound of a symphony of colors and sounds, and the energy of life renewal:
Young peals thunder,
The rain is splashing, the dust is flying,
Rain pearls hung,
And the sun gilds the threads.
However, the existence of man in the world, the existence of nature itself is perceived by the poet as a prologue to an inevitable catastrophe. Hence the tragic sound of such poems by the poet as “Vision”, “Insomnia”, “How the ocean embraces the globe”. In “Insomnia” Tyutchev paints an image of time. At the beginning of the poem, the “monotonous chiming of the clock” is interpreted as the “dull groaning” of time, as its language, “equally alien and intelligible to everyone”; at the end - like a “metal funeral voice.” A reminder of the inexorable movement of time makes a person see himself (and humanity as a whole) standing “at the edge of the earth,” and feel his existential loneliness in the world (“...we... are abandoned to ourselves”).
The real meaning of chaos in the lyrics of F. I. Tyutchev is the danger of destruction, the abyss through which one must pass in order to achieve absolute fusion with the universe. The melancholy that takes over when encountering unclear manifestations of chaos is despondency and fear of death, horror of destruction, but bliss is also achieved in overcoming them. In the lyrics of F. I. Tyutchev, the reflection is figuratively formulated that the element of disorder allows us, in contact with it, to comprehend the entire depth of the abyss that fences us off from truly universal existence, the idea that evil and sin are not considered the antitheses of good and holiness - this is everything -just stages to comprehend the truth. The poet finds the contrast between chaos and the perfect beginning of the universe not in the images of “day and night,” but in the images of silence and tranquility. Heat, rebellion and their collision with silence, tranquility - this is a collision of the attractive and violent beauty of life with the calm and clear beauty of powerlessness and dying. Consequently, chaos is the embodiment of overcoming everything earthly and perishable. This means that in the lyrics of F. I. Tyutchev, “the very night soul of Russian poetry,” the virgin beauty of the divine world is revealed to us, embracing everything that exists - living and dead, disorder and harmony, in the battle between which flows “evil life with its rebellious "heat":
Damage, exhaustion, and everything
That gentle smile of fading,
What in a rational being we call
The sublime modesty of suffering.

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

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

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

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

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

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

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

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

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

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

The source of philosophical lyrics is general issues, disturbing a person, to which he seeks to find an answer.

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

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

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

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

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

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

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

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

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

Existence of Man. Human and nature

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

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

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

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

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

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

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

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

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

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

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

Chaos and space in Tyutchev’s understanding

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“F.I. Tyutchev, a deeply original poet, was the forerunner of poetry of the late 19th and early 20th centuries, starting with Fet and the Symbolists. For many poets and thinkers of the 20th century, Tyutchev’s poems, saturated with unfading meaning, became a source of themes, ideas, images, and semantic echoes.”

When thinking about the classics and classics, the first thing that comes to mind is “many volumes.” And for one of the greatest classics of Russian poetry - Fyodor Tyutchev - only a “small book” is listed. But this, in my opinion, only emphasizes the power of spirit contained in it and the utmost poetic sophistication.

Tyutchev began his creative career in that era, which is usually called “Pushkin”. But this artist of words created a completely different type of poetry. Without denying everything that was discovered by his brilliant predecessor, Tyutchev showed Russian literature another path. If for Pushkin poetry is a way of understanding the world, then for Tyutchev it is an opportunity to listen to the unknowable through knowledge of the world.
He continues the traditions of Russian philosophical poetry of the 18th century. But what is sublime in Tyutchev is the very content of life, its general pathos, and not the principles official faith, which inspired the “old” poets.

Tyutchev, unlike many, did not perceive Space and Time as something natural, that is, simply unnoticed. He was characterized by a living sense of Infinity and Eternity as reality, and not some abstract concepts:

When I'm awake, I hear - but I can't
Imagine such a combination
And I hear the whistle of runners in the snow
And the spring swallows chirp.

This miniature by Tyutchev is based on a new image, completely uncharacteristic of the poetry of the 19th century, but mastered by the poetry of the 20th century. This poem combines two time layers. We can say that the poet uses a technique that cinema now uses - changing frames.

Tyutchev is the discoverer of new figurative worlds in poetry. The scale of his poetic associations is astounding:

As the ocean envelops the globe,
Earthly life is surrounded by dreams...
………………………………………..
The vault of heaven, burning with the glory of the stars,
Looks mysteriously from the depths, -
And we float, a burning abyss
Surrounded on all sides.
“As the ocean envelops the globe...”

One of the main motifs of Tyutchev’s poetry is the motif of fragility, the “ghostliness” of existence. “Ghost” is Tyutchev’s usual epithet of the past: “The past, like the ghost of a friend, We want to press to our chest,” “O poor ghost, weak and vague, Forgotten, mysterious happiness.”
The symbol of the illusory nature of life is the rainbow. She is beautiful, but this is just a “vision”:

Look - it’s already turning pale,
Another minute or two - and then what?
Gone, somehow gone completely,
How do you breathe and live?

The feeling of the illusory nature of the world is sharply expressed in such a poem as “Day and Night.” It's all about external world recognized as a ghostly “veil thrown over the abyss”:

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

The connection between the images of night and chaos, the thought of the night side emphasizes the feeling of loneliness, isolation from the world, and deep disbelief. The poet uses the technique of antithesis: day - night. He talks about the illusory nature of the daytime world and the power of the night. The lyrical hero is not able to comprehend the night, but he realizes that this incomprehensible world is nothing more than a reflection of his own soul.

Tyutchev's poems are imbued with a philosophical and stoic attitude towards life. The motif of loneliness is heard in the poet’s poems about a homeless wanderer alien to the world (“The Wanderer,” “Send, Lord, your joy…”), about living in the past and abandoning the present (“My soul is an elysium of shadows”) and others.

Philosophical search led Tyutchev to the search for human ideals and happiness. These thoughts found expression in the poet’s philosophical reflections, landscape and philosophical lyrics and, of course, love poetry.
It is interesting that the search motive can be traced throughout Tyutchev’s work. At the same time, the poet does not give recipes for general prosperity and happiness; often his philosophical generalizations look like reflections. However, this does not reduce the level of depth and accuracy of the poet’s poems. Hence a certain duality in Tyutchev’s poetry as its characteristic feature.

The poet’s philosophical idea about the unknowability of the world, about man as a particle of the Universe, is connected with another pair of concepts - “sleep - death”:

There are twins - for earth-born
Two deities - death and sleep,
Like a brother and sister who are wonderfully similar -
She is gloomier, he is meeker...

Tyutchev clearly understood that true life a person is the life of his soul. This idea is closely intertwined with the motif of the “inexpressible” in the poem “Silentium”. However, the poet could not help but believe in the harmony of the earthly and the heavenly, in the union of the soul with the dear soul, in his ability to express the inexpressible:

When our word is sympathetic
One soul responded -
We don't need any other retribution
Enough with us, enough with us...

“- life still had too strong an influence on them, they were too painfully sensitive to the impressions of life to calmly and soberly understand them and find philosophical justifications for their pessimism. If both of them rose to the point that they saw the source of evil on earth not in the random, temporary circumstances of life, but in humanity itself, then they did not go further than this conclusion. Tyutchev tried to philosophically substantiate what both poets had already sensed.

He cannot be called a poet of “world sorrow,” but he is in his lyrical works more than once he approaches questions that tormented the “sorrowful” with their intractability - he calmly points out the source of this “evil” and the means to defeat it.

Portrait of Fyodor Ivanovich Tyutchev (1803 - 1873). Artist S. Alexandrovsky, 1876

Chaos in man. From Tyutchev’s point of view, human existence inextricably linked with the life of nature. Man is the last, highest product of the world process: the external light of nature becomes in man the internal light of consciousness and reason - the ideal principle here enters into a new, deeper “close combination with the earthly soul.” But along with the ennoblement of all the forces of the macrocosm (the whole world) in the worldcosm (in man), the opposite of light and clear consciousness is revealed in the human soul more clearly than in nature - the demonic principle of “chaos” (V. Soloviev). Hence the division of man, hence the invincibility of evil in man, as a “fatal inheritance”... What in nature is darkness, a hostile principle, “chaos”, is “evil” in the human soul. Even in love that reveals meaning mental life man, there is this demonic and chaotic basis - these are those passions that sometimes, with a dark beginning, burst even into the world of ideals and pure dreams. That is why, from his point of view, “the life of the soul, concentrated in love, is fundamentally "evil life":

What is this, friend? Or an evil life is not in vain,
That life - alas, that flowed in us then,
That evil life with its rebellious heat
Have you crossed the treasured threshold?

This “evil life” destroys its victims -

Oh, how murderously we love,
As in the violent blindness of passions
We are most likely to destroy,
What is dear to our hearts!

Day is this brilliant cover,
Day - earthly revival,
Healing for sick souls,
Friend of men and gods.

But the night has come -

She came - and from the world of fate,
Fabric of blessed cover
Having collected it, it throws it away.
And the abyss is laid bare to us,
With your fears and darkness
And there are no barriers between her and us, -
This is why the night is scary for us!

In the “night” one glimpses the “dark beginning” of the existence of the universe; it, stormy and evil, is expressed in the wild howl of the wind - and then the poet’s soul is tuned into an alarming mood. He turns to the wind with a question:

In this howling of the wind, the poet’s soul hears “terrible songs” about “ancient chaos, darling",- and those related to him His Dark Materials the human soul begins to worry: the microcosm begins to merge with the macrocosm, - the “night world of the soul” lovingly listens to the songs of the wind about the native chaos,” and then a thirst awakens in the chest of a frightened mortal to merge with the “infinite” -

Oh, don’t wake up sleeping storms!
Chaos is stirring beneath them. –

- exclaims the poet.

“Chaos, that is, negative infinity, the yawning abyss of all madness and ugliness, demonic impulses rebelling against everything positive and proper - this is the deepest essence of the soul and the basis of the entire universe. The cosmic process introduces this chaotic element into the limits of the universal order, subordinates it to reasonable laws, gradually embodying in it the ideal content of being, giving this wild life meaning and beauty. But even when introduced within the boundaries of the world order, chaos makes itself felt through rebellious movements and impulses. This presence of a chaotic irrational principle in the depths of being imparts to various natural phenomena that freedom and strength, without which there would be no life and beauty itself. Life and beauty in nature are the struggle and triumph of light over darkness, but this necessarily presupposes that darkness is a real force” (Vladimir Solovyov).

Therefore, “chaos, that is, ugliness itself, is the necessary background of all earthly beauty”... Tyutchev is a great master of painting such pictures of nature in which one senses the presence, or approach, of “chaos” - or in the “terrible songs” of the wind , or in the mysterious, silent flutter of lightning:

Not cooled down by the heat
The July night shone
And above the dim earth
The sky is full of thunder
Everything trembled from the lightning, -
Like heavy eyelashes
And through the fugitive lightning
Someone's menacing eyes
They lit up above the ground.

In another poem, Tyutchev presents these silent flashes of lightning in the form of a conversation that “deaf-mute demons” conduct among themselves.

Tyutchev's Christianity. Just as the subordination of “chaos” to the reasonable laws of nature gives wild life meaning and beauty, so in a person’s life, victory over the evil principle of his soul is the only way out to the light. And the poet calls on everyone to join Christ, “the leader on the path of perfection,” to replace the fatal and murderous legacy of ancient chaos with the spiritual and life-giving legacy of the new man. Recognizing the “duality” of his soul, the poet recognized that the principles of light triumph in it -

Let the suffering chest
Fatal passions excite
The soul is ready, like Mary,
To cling to the feet of Christ forever.

These “philosophical” poems, of course, do not exhaust Tyutchev’s lyrics; he has many beautiful paintings of peaceful nature - paintings permeated with light and warmth: he is equally sensitive to the beauties of spring, autumn and winter - morning, day and night. Many of his poems are dedicated to the life of his heart, with all its delusions, worries, torments, poetry, drama of passion...

Slavophilism of Tyutchev. Tyutchev also adopted his point of view on human life and the life of nature, as a struggle between two principles, in relation to the life of Europe. Seeing in Christianity a light that should overcome the darkness inherent in people, he considered the most Christian of all the peoples of Europe Russian. Thus, he adopted the point of view of the Slavophiles and believed with them that Russia was called upon not only to renew itself internally, but also externally unite all humanity. He didn’t say that he loved his homeland - he believed in her: the power of Nicholas Russia captivated him, like many of his other contemporaries - together with Pushkin, he believed that “Slavic streams will merge into the Russian sea” (“To the Capture of Warsaw”); at one time he even dreamed of uniting churches and predicted that in the future Russia would become a world monarchy up to the Nile and Ganges, with Constantinople as the capital; Moreover, the unity of this monarchy had to be maintained not by force, but by love.