The meaning of human existence in the lyrics. Philosophical questions of being in the lyrics of S.A. Yesenin. The mutually exclusive meaning of Tyutchev's poems

He poses many questions addressed primarily to himself: how did I live, what did I have time for, why did I come to this world?

Yesenin always felt like a part of this world. Often he found a response to his thoughts in the natural world, so his philosophical lyrics darkly intertwined with the landscape and filled with analogies between the laws of human life and the laws of nature.

A vivid example of this is the elegy “The Golden Grove Dissuaded” (1924).

"Golden Grove" is also a specific natural image, but it is also a metaphor - the life of a poet, human existence in general. The philosophical content is revealed through landscape sketches.

The theme of withering, sensations last days shines through in the form of autumn. Autumn is a time of silence, bright colors, but at the same time, it is time to say goodbye. This is the inconsistency of our earthly existence. Cranes are the leitmotif of the poem, a farewell song with everything young, fresh, with the “lilac blossom” of nature and, most importantly, with the human soul. The person is lonely, however, this homelessness is adjacent to a warm memory:

I stand alone among the naked plain,

And the cranes are carried by the wind into the distance,

I'm full of thoughts about a cheerful youth,

But I don't regret anything in the past

The path of life has been passed, nature has completed its circle ...

The ratio of the spring of a person and the dying fire of life is expressed through a visible objective image: “A fire of red mountain ash burns in the garden, // But it cannot warm anyone.” Despite this, the lyrical hero does not feel sorry for the past life, since being is perceived by him as transient. "Whom to pity? After all, everyone in the world is a wanderer ... ”- these words are the basis of a philosophical attitude to life. We are all born to die, each of us is a tiny grain of sand in the cosmos, each of us is an integral part of nature. That's why lyrical hero compares his dying monologue with autumn leaf fall: "So I drop sad words."

Despite the tragic sound of the poem, memories of a life that made a splash make the lyrical hero accept death as a given. In general, this elegy is very similar to the confession of a lyrical hero - Yesenin rose above his personal tragedy to universal heights.

Similar thoughts sound in the poem “I don’t regret, I don’t call, I don’t cry ...”

Withering gold embraced,

I won’t be young anymore” – these lines reflect on the impossibility of turning back time. “Spring echoing early” is the personification of the youth of nature and the youth of life. The feeling of inescapable sadness, the motive of the inevitable misfortune of the lyrical hero in the face of all-consuming time and eternal nature is removed by the word "prosper" in the last stanza:

All of us, all of us in this world are perishable,

Quietly pouring copper from maple leaves ...

May you be blessed forever

What has come to flourish and die

It is to nature that the lyrical hero appeals, it is with her that it is most bitter to say goodbye, standing at the fatal line. The human soul and the World are one, however, sometimes this unity is broken, tragic disharmony destroys the idyllic existence. This can manifest itself in everyday, everyday situations. Thus, in the Song of the Dog, a man cruelly violates the laws of nature, taking away newborn puppies from their mother. This not only causes maternal grief, a personal tragedy, but also becomes the cause of a disaster on a universal scale: “The eyes of a dog rolled with Golden tears into the snow”, “She looked loudly into the blue heights, whining, And the moon slid, thin, And disappeared behind the hill in the fields”

Yesenin is convinced that it is impossible to interfere in the given course of life, to change its pace. The lines from the poem “Now we are leaving little by little” sound in a special way: “And the beast, like our smaller brothers, Never hit on the head.” This is how you need to live, understanding that you are not the master of nature, the world, but part of them. You need to enjoy the opportunity to contemplate the beauties of the earth, you just need to live, taking everything you can from it. This, according to the poet, is the meaning of life: “I am happy that I breathed and lived. I am happy that I kissed women, I crumpled flowers, I rolled on the grass.

Seeing the departure of people close to him into another world, the lyrical hero himself feels the approach of death. He understands that this can happen at any moment. From such a thought it becomes creepy and dreary, because life is so beautiful and you don’t want to say goodbye to it. Moreover, the lyrical hero is sure that the world of the dead has nothing to do with our world:

I know that thickets do not bloom there,

Rye does not ring with a swan's neck.

That is why before the host of the departing

I always get trembling.

But the poem ends life-affirming, like almost all Yesenin's philosophical lyrics. While there is still time, you need to appreciate and cherish the fact that you live, love people, admire nature, live in harmony with yourself and the world around you.

Thinking about nature, about the Motherland, about his personal destiny, the poet inevitably comes to the idea that life must be accepted as it is: “How beautiful the Earth And the man on it!”

Most Popular Articles:

Homework on the topic: Philosophical questions of being in the lyrics of S.A. Yesenin.

I would compare this world to a simple lantern.
The sun with a candle burning with hot fire.
We wander like shadows in a mysterious world
Knowing nothing for sure about him.
Omar Khayyam
great poet and philosopher Omar Khayyam is widely known today as an outstanding thinker, researcher, astronomer. But this is not all that his name is famous for. He became a true encyclopedist of his time. It is no coincidence that among his titles one can hear such as the most learned man of the century, the Proof of Truth, the King of the philosophers of East and West, and many others, no less

Worthy titles. But the life of the great scientist was not limited to scientific research. There are about two thousand lyrical quatrains (rubai) written by him. And each of them is a small poem.
Khayyam was overwhelmed with love for life, he enjoyed it in all its manifestations. And he expressed this feeling in his poetry:
The world is beautiful! Look at everything gratefully!
The Lord gave us this paradise for life!
Omar Khayyam urges his readers to cherish every moment of this life, make it joyful and intoxicating, live in such a way as to leave your significant mark, try to be useful, do good to those who are close to you.
The poet in his poems sang hymns to sincere friendship, sang love - a pure, sinless feeling, which is "primordial of all the rest", that "which is the basis of our whole life", that "one thing in this world is spiritual". In love, Khayyam saw the main meaning of life. He argued that the days spent without love are meaningless and empty, and a person who has not known this magical feeling “dragging out his dull life without consolation.” He said with confidence:
Who does not know love, does not burn with love,
That dead man, for life is definitely love.
The central idea of ​​the whole outlook of the poet was the assertion of the rights of the individual. Personality - free, pure in soul, free-thinking - this is Khayyam's unchanging ideal.
He constantly sang of the basic human values: wisdom, cheerfulness, ability to sincere feelings. But real life complex and contradictory. Therefore, in his poems one can often find doubt, disbelief, puzzlement, sometimes even despair:
There is no heaven or hell, O my heart!
There is no return from the darkness, O my heart!
And do not hope, O my heart!
And there is no need to be afraid, O my heart!
The poet has always glorified movement, eternal and continuous, which is the absolute law of being.
Omar Khayyam clearly distinguished between good and evil, he knew how to distinguish one from the other, but he never imposed his views and beliefs on the reader. As a philosopher, he had the ability to express his thoughts, his understanding of life in such a way that those around him could understand everything and draw the right conclusions. Omar Khayyam does not teach, he reflects. Reflects on enduring values, on critical issues facing humanity, above the meaning of being itself. He constantly puts questions before us and before himself, and thus, as it were, involves us, the readers, in his reflections, makes us seriously think about why we came into this world.
The work of Omar Khayyam is multifaceted and unique. Critics note that in terms of the originality and depth of the works he created, he has no equal either among his contemporaries or among subsequent generations. He wrote a great many poems and treatises. And people at all times do not cease to be interested in the course of his thoughts, admire and amaze the wisdom that sounds in his work. The great thinker devoted his whole life to comprehending the meaning of human existence. But even he could not fully solve this mystery. And yet the value of the precepts of the philosopher is immeasurable:
Do not try to open the meaning of life a secret,
You will not comprehend all the wisdom in a thousand years,
Better create heaven on a green lawn -
There is no particular hope for heaven.

(No Ratings Yet)

Tyutchev has many poems dedicated to reflection about the appointment of a person, about the ideal human existence. One of his poems - "Over the Grape Hills" (beginning of the 1830s) - echoes the well-known Pushkin's poem "The Monastery on Kazbek". Contemplation of the world - mountains and valleys - causes the lyrical "I" to reflect on the ideal being:

Over the vineyards
Golden clouds float.
Below the green waves
The fading river roars.
Gaze gradually from the valley,
Rising, rises to the heights
And sees on the edge of the top
Round-shaped light temple.

There, in the mountainous, unearthly dwelling,
Where there is no place for mortal life,
And lighter, and desert-cleaner
Air jet flows
Taking off there, the sound becomes numb ...
Only the life of nature is heard there,
And something festive blows
Like the days of Sunday silence.

At first glance, the poet's ideal is life alone with nature, outside the human world. And yet, the poet correlates the ideal with human existence (hence the images of the holiday, “Sundays”), but such, when human life becomes joyfully enlightened, as on holidays, Sundays.

In what does Tyutchev see the true appointment of a person? This is a bright burning, a life filled with love for people and serving them. The most accurate image that Tyutchev finds to embody this idea is “burning”. Where does this image come from? The fire of the soul, the fire of the heart is one of the oldest metaphors, which goes back to the idea of ​​a person as a carrier of divine fire, as a being created from fire. This view, reflected in ancient Greek mythology and philosophy, turns out to be close to Tyutchev. Ideal life- not smoldering, but an instantaneous and strong flash, illuminating the world, radiating radiance. A life that smolders is capable of "extinguishing" a person "in unbearable monotony." But not just a bright “burning” is recognized as the highest moment, but “radiance” - the emission of light, giving people their own light. Like a prayer, the words of Tyutchev's hero sound:

Oh Heaven, if only once
This flame developed at will -
And, without languishing, without tormenting the share,
I would shine - and went out!

One of Tyutchev's tragic images is the image of a fading fire - a symbol of fading life. Another image has a tragic sound - flying smoke, which also symbolizes the dissolution of a person in the world, his death. In the poem “To my friend Ya.P. Polonsky" (1865), referring to a contemporary who also experienced a sad loss - the death of his beloved wife and child, Tyutchev writes:

The symbol of man in Tyutchev's lyrics often a "cereal" or "leaf" appears. The image of the leaf allows the poet to express the idea of ​​the kinship of man with humanity, the symbol of which is the world tree, of involvement human soul one and eternal soul and kinship with nature. A part of nature - a leaf-man listens to the voice of nature, he can talk with a thunderstorm and play with the wind. In a poem inspired by the death of Goethe, referring to the great poet, Tyutchev writes:

On the tree of humanity high
You were his best leaf
Raised by its purest juice,
Developed by the purest sunbeam!

With his great soul
Consonant with all, you trembled on it!
Prophetically spoke with a thunderstorm
Ile fun with marshmallows played!

Like a leaf, a person lives for a short moment. But Tyutchev does not complain about the short duration of life, he sings of the voluntary parting with life when it loses its highest meaning. It is interesting that in the poem "Leaves" (1830) the ideal being is expressed by the verbs - blossom, shine, play. The flowering of the leaves symbolizes the attainment by a person of the highest beauty, the verb "shine" - speaks of merging with the sun, of the ability to reflect its light. People-leaves "play with the rays" and "bath in the dew", they have access to fire and water - the fundamental principles of being. But life loses its meaning when nature freezes:

But the birds sang
The flowers have faded
The rays faded
The Zephyrs are gone.
So what do we get for free
Hang and turn yellow?
Isn't it better for them
And we'll fly away!

Another image-symbol of a person is an ice floe ("Look, as in the open space of the river"). Like the image of a leaf, it carries the idea of ​​the short duration of human existence. And at the same time, it allows the poet to emphasize the idea of ​​human loneliness - both at the moment of triumph, joyful merging with the sun, when ice floes-people shine rainbow-colored in the river expanse, and in the silence and darkness of the night.

Tyutchev's metaphors for life are "path", "struggle", "feat". All these images are marked by a dramatic meaning. But Tyutchev, in his reflection on the meaning of life, on human destiny, focuses not on difficulties life path. On the contrary, it is precisely this difficulty that the poet poetizes, for example, in the famous poem “God send your joy ...”:

Send, Lord, your consolation
To the one who in the summer heat and heat
Like a poor beggar past the garden
Wandering on a hard pavement -

Who looks casually through the fence
To the shade of the trees, the grass of the valleys,
To inaccessible coolness
Luxurious, bright meadows.

Analyzing this poem, I. Petrova writes: “The rejection of a person from beautiful world- not an act of free will, but a consequence of a life tragedy. And “beauty” here is rather “luxury”, not the being of mother nature, but life, but depicted in its external general signs (a garden, a “smoky cloud” of a fountain, an “azure grotto” in this garden). And, undoubtedly, in the very depths of the poetic microworld of the poem there is a contrast of luxury and deprivation, in a word, the same tragic antinomy of life. In this poem, indeed, two types of human existence are opposed, the symbols of which are a captivating, shady garden and a hard pavement under a scorching sun. A shady, luxurious garden, filled with the quiet murmur of a fountain, a sweet shadow, Tyutchev draws, but poeticizes a different fate, a different life choice - the path along the hard pavement past the garden. At the same time, the true real life for the poet appears as the fate of a beggar. The researcher is still not entirely right when he says that "the rejection of a person from the beautiful world is not an act of free will." No, it is "an act of free will." It is no coincidence that a comparative union “how” appears here: Tyutchev recognizes such an existence as ideal when a person, like a beggar, looks at life's temptations from the outside, separating himself from them with an obstacle. "Poverty" in this poem is not social concept. Tyutchev poetizes not material deprivation, but a voluntary rejection of the joys and temptations of life, a voluntary choice of suffering and the difficulties of life.

The second metaphor of being - "struggle" - has a deep meaning. "Fight" makes human life the constant opposition of a person, his desires, aspirations, hopes, his love and happiness - to society and fate. V.V. Kozhinov correctly noted: a person in Tyutchev's poetry stands, as it were, alone with the world, with Rock. Yet his loneliness is not absolute. It is no coincidence that a person is not alone in his struggle with rock. People are called "friends", and their common fate and common struggle with fate make them related. The poet does not seek to inspire the idea of ​​the possibility of victory - over the laws of society, over fate. Victory is in a patient and steady struggle. This idea was voiced in the 1850 poem "Two Voices":

Take courage, O friends, fight diligently,
Though the battle is unequal, the struggle is hopeless!
Above you, the luminaries are silent in the sky,
There are graves under you - they are also silent.

May the gods bliss in the mountainous Olympus:
Their immortality is alien to labor and anxiety;
Anxiety and labor are only for mortal hearts...
There is no victory for them, there is an end for them.

Take courage, fight, brave friends,
No matter how fierce the fight, how stubborn the struggle!
Above you are silent star circles,
Under you are dumb, deaf coffins.

Let the Olympians with an envious eye
They look at the struggle of adamant hearts.
Who fell fighting, defeated only by Rock,
He snatched the crown of victory from their hands.

The two-part composition of the poem symbolizes the internal contradiction of a person, the struggle waged in the human soul by two voices: one makes a person doubt the higher meaning of the fight against fate, the other is convinced of the need for this struggle, in its high sense. And yet in the first "voice" sound not only skepticism and disbelief. It is no coincidence that the poem begins with a call for courage, and it is this first line that becomes the semantic center. With the help of the concessive union “even though” and the particle “let”, which has the same meaning (“despite the fact”), all other lines join and, as it were, obey this passionate call: “Be of good cheer!”.

The heroic pathos grows even more in the second stanza: the other human "I", the other beginning of the soul, is even more steadily and persistently in its call to man: not to humble yourself, not to bow down. The poet also recognizes the lofty meaning of this struggle: and the Olympians no longer look indifferently at the clash of man and Fate, but look at him with an “envious eye”. In essence, defeat is inevitable: man is mortal. But Tyutchev is inclined to consider the very steadfastness of a struggling man a victory.

The meaning of human existence is correlated for Tyutchev not only with the ideas of service and struggle. The drama of human existence for the poet is also determined by the understanding of the impossibility of knowing being and merging with the mysterious life of the world. In the poem of 1830 "Madness" the central image - "madness" - is the personification of all human attempts to know the true essence of the world. “Crazy” and vain are human attempts to “search in the clouds” for truth that is inaccessible to them, and equally futile are the attempts of “greedy human hearing to listen to the“ current ”of underground waters.

The vain striving to merge with world life is spoken of by the poem “What are you bowing over the waters ...”, 1835. The image of a willow, bending over the living streams of the river, but trying in vain to absorb these streams, becomes a symbol of futile attempts to connect with the “keys of life”, merged with the sun, eternally alive and changeable:

What are you bending over the waters
Willow, your crown
And trembling leaves
Like thirsty lips
Do you catch a running stream? ..

Though it languishes, though it trembles
Each sheet of yours is above the stream...
But the jet runs and splashes,
And, basking in the sun, shines,
And laughs at you...

We can say that the highest ideal for Tyutchev is the dream of merging with the world. So, in the 1865 poem “How good you are, O night sea”, describing the sea shining with the reflection of moonlight, the sea merged with the sky, the poet sees for himself the highest ideal in such a merger:

You are a great swell, you are a sea swell,
Whose holiday are you celebrating like this?
Waves are rushing, thundering and sparkling,
Sensitive stars look from above.

In this excitement, in this radiance,
All, as in a dream, I'm lost standing -
Oh, how willingly in their charm
I would drown my whole soul ...

For Russian poetry silver age» are characterized by constant artistic searches, comprehension of the classical heritage and modern history, approval of avant-garde ideas. The literary mentors of the modernist poets were the writers and poets of the "golden age" - W. Shakespeare, A. Pushkin, F. Tyutchev. In 1910, symbolism was replaced by a new trend - acmeism. Nikolai Gumilyov, Anna Akhmatova, Osip Mandelstam belonged to the number of acmeist poets. The word "acmeism" meant the highest degree something flourish. Acmeists urged to peer not into the transcendental world, but into the surrounding reality, to take a fresh look at the world. They heralded a "return to the earth", an interest in life in all its directions, a courageous and firm view of reality. In the poem "Art" Gumilyov confirmed this:

And the gods themselves are perishable,

But the verse won't stop singing

Haughty,

More powerful than copper.

Like every great poet, Gumilyov was worried about the eternal problems of human existence, he was looking for his own original answers to these questions. For the traveler and voluntary wanderer Gumilyov, the multicolored impressions of the ancient and ancient cities of Europe, Africa, Asia Minor meant a lot - he lived, breathed them, nourished his imagination and thought. These impressions, in particular, introduced into the mind of the poet a conviction that later became the philosophical focus of all his later lyrics: about the vastness and boundlessness of the world, the immensity not only territorial, but also temporal, stretching for hundreds and thousands of years. Increasingly, in his poems, he began to feel time as something unconditionally unified, where both the past and the present coexist in today's world.

In the collection Pillar of Fire (1921), the poet reflects on life and death, love and hate, good and evil, rising to philosophical heights and remaining extremely earthly. His thoughts about the soul, penetrating almost all poems, are the need to comprehend precisely the earthly path. So, the poem "Memory" is devoted, as it were, to a general overview of the biography of the poet himself. Like modern neuropsychologists who have established the reality of one-time slices of life that exist in a person’s memory, calling them “souls” that change while only the body remains one, “We change souls, not bodies.” Gumilyov begins with early memories of his childhood:

The very first: ugly and thin,

Who loved only the dusk of the groves,

Fallen leaf, magical child,

Stopping the rain with a word

Tree and red dog

Here's who he took as his friend ...

Time spent alone with a dog and plants is replaced by a completely different slice of life, depicted ironically and aloofly. This, the following, image of the poet, or the “soul” that replaces the soul of a child, is unsympathetic to a mature Gumilyov:

And the second ... he loved the wind from the south,

In every noise I heard the ringing of lyres,

Said life was his friend

The rug under his feet is the world,

I don't like him at all,

He wanted to become a god and a king,

He hung a poet's sign

Above the doors to my silent house.

The poem "Memory" is an attempt to sum up. The poet reflects on his fate: this is how I was, this is how I lived, this is what I aspired to, but - will all this remain, was it the way it was to stay? In the poem "The Lost Tram" the idea of ​​the simultaneous existence in the human soul of different times and spaces is most clearly and clearly expressed. His lyrical plot begins on an "unfamiliar street", from where the tram "on three bridges" takes the poet "across the Neva, across the Nile and the Seine" after those riding on it "went around the wall" and "slid through a grove of palms." The displacement and connection of all earthly places is accompanied by the same displacement of times. This is especially noticeable where we are talking about a recent event:

And, flashing by the window frame,

Throws us an inquisitive glance

The beggar old man - of course, the same one,

That he died in Beirut a year ago.

To the question "Where am I?" the poet's heart answers:

... You see the station where you can

Buy a ticket to the India of the spirit.

The poet in many poems included in the latest collections - "Worker", "The sacred ones swim and drown the nights ...", "Me and you", "Memory" - predicted his death. Thus, the stanzas in "The Lost Tram" are a gloomy metaphorical foreknowledge of death:

Signboard... bloodshot letters

They say - green - I know, here

Instead of cabbage and instead of swede

Dead heads are for sale.

In a red shirt, with a face like an udder,

The executioner also cut off my head,

She lay with others

Here, in a slippery box, at the very bottom.

Of particular interest in terms of disclosure philosophical views the poet is represented by the Poem of the Beginning. One of the creative impulses that prompted Gumilyov to write it was the study of the Babylonian epic. Legends about magical lands are usually associated with serpent fighting, with the struggle of man and the Serpent-Dragon. In the "Poem of the Beginning" dragon death is embodied in a priest who, before the death of the Serpent, wants to find out his secrets. The dragon refuses to transfer his knowledge to the priest and makes a speech similar to the thoughts of Gumilyov himself, expressed by him in the poem "I and You" in his own name, where the poet calls his listeners dragons:

Not in the halls and salons

Dark dresses and jackets -

I read poetry to dragons

Waterfalls and clouds.

The dragon, who does not want to share secrets with man, says in the "Poem of the Beginning":

Hasn't the world become strong,

What will I give you knowledge?

I will hand it to a scarlet rose,

Waterfalls and clouds.

The rebelliousness of the Dragon turns out to be akin to Gumilyov himself, and the poem takes on a partly autobiographical character. The softening of the ancient Eastern cosmogonic image of the dying Dragon with motives relating to the fate of the poet himself is complicated by the introduction of the magic spell "He" into the text. This syllable, so important for Indian, Tibetan and other esoteric schools, acquired a new significance in European poetry of the first half of the 20th century. According to Gumilyov, only at the hour of the death of the Dragon did a person begin to influence the world with the help of the word. Description space action The "forbidden word" brings the finale of the first book "The Poem of the Beginning" closer to the poem "The Word". It is the consciousness that "The sun was stopped by the word, the cities were destroyed by the word." Therefore, the word is also a revelation:

But we forgot that shining

Only a word amid earthly anxieties,

And in the Gospel of John

It is said that the word is God.

In the lyrics of Gumilyov, the eternal problems of human existence found a brilliant embodiment: life and death, individual spiritual development personality and its relationship with other people, with the past and the present. Gumilyov was not alien to the humanistic traditions of Russian lyrics. The poet glorifies the strength of the human spirit, the power of the mind (“The Poem of the Beginning”), affirms the uniqueness and value of each person, each “I” (“Star Horror”, “The Lost Tram”), tries to support with a sympathetic word all the inhabitants of the “native, strange Earth”, to support faith in their feelings in their souls (“To My Readers”).

The philosophical lyrics of the poet as a whole are optimistic, he accepts the world in all the richness of phenomena, colors, sounds, glorifies life, affirms its eternity.

The search for the meaning of being in the lyrics of F. I. Tyutchev section Literature, The search for the meaning of being in the lyrics of F. I. Tyutche ....

The search for the meaning of life in the lyrics of F. I. Tyutchev Tyutchev is a great tragic poet. His thoughts about the world, life, man are deep and often sad. The motives of hopeless despair, suffering and loneliness do not exhaust all the poet's work, but occupy a significant place in it. The poet seeks, first of all, to show the world of the human soul, to realize whether there is any meaning in existence. In Tyutchev's lyrics, there is often a contrast between "eternal" and "instantaneous", always resurgent nature and short human life.

The poet perceives Infinity, Eternity not as a philosophical, speculative concept, but as a reality. In this eternity, human life is but a brief flash. But at the same time as the insignificance of individual existence, Tyutchev also feels its colossality: “I, the king of the earth, have grown to the earth”, “Across the heights of creation, like God, I walked" Such bifurcation is generally characteristic of the poet. For him, each poetic concept has a wrong side: harmony - chaos, love - (death, faith - unbelief.

A person is always between heaven and earth, between day and night, "on the threshold of dual existence." The soul is always a “resident of two worlds”. Perhaps this perception of a person on the verge of "two worlds" explains Tyutchev's predilection for the image of sleep, a dream, where a person approaches the border of two different lives. The dream in the perception of the poet is also ambiguous. On the one hand, it is a certain form of existence close to chaos. In one of the poems, Dream is the twin of Death. On the other hand, a dream can be both “gracious”, and “magical”, and “childishly beautiful”. In the poem "Sleep on the Sea" he writes: I, sleepy, was betrayed by all the whims of the waves. Two infinities were in me, And they played with me willfully. And in the same poem: On the heights of creation, like God, I walked, And the world beneath the motionless shining. All these images-symbols not only speak of the existence of a person on the border of sleep and reality, peace and storm, but show the huge role that a person plays in the universe.

A strange combination, so characteristic of Tyutchev: he is subject to the "whim of the waves" and at the same time "walks along the heights of creation." Tyutchev noticed that a person has a need to get away from the crowd, to retire in himself: Only know how to live in yourself - There is a whole world in your soul This motif sounds again in the poem “My soul is the Elysium of shadows" The soul is alienated by "living life", the crowd, she lives with her memories.

Although this happens, it is not at all good for the poet. On the contrary, he strives precisely for “living life” (especially in the early lyrics): No, I cannot hide my passion for you, Mother Earth! If the early lyrics of Tyutchev are characterized by the opposition of the universe and the individual, then later the poet "descends to the sinful earth", tracing the human destiny.

A peculiar philosophy of life begins to clear up: the harder, more doomed a person lives, the more he loves the earth. Doom, torment, sometimes even death, coexist with an inescapable love for the world. The radiant world in all its splendor appears in him even in the most tragic love poem " All day she lay in oblivion" A woman lies on her deathbed, and life continues outside the window.

Tyutchev is characterized by thoughts about death, about sorrows, about the joylessness of the human lot, about tears: Human tears, oh human tears, You pour early and late sometimes The late Tyutchev increasingly sounds the motive of disobedience to fate, a thirst for struggle, outside of which life loses its justification: Courage, oh friends, fight diligently, Although the battle is unequal, the struggle is hopeless! Yes, the struggle is hopeless, but we must fight! This may be the only meaning of existence.

The contrast of Tyutchev's lyrics lies, on the one hand, in his rapture with life, a sense of joy, the uniqueness of being, on the other hand, in the awareness of the transience of life, in perceiving it as something ghostly, "a shadow from smoke" (not even smoke, only shadows). These contradictions constitute the life philosophy of the poet, two views on life merge into a single perception of reality.

At first, for Tyutchev, a person is only a part of a huge universe, a tiny chip on the waves of the ocean, a wanderer driven by unquenched longing. Later, the poet begins to be disturbed by the consciousness of the "uselessness" of life. Then, already in the late Tyutchev, there is confidence in the need for a man to fight fate.

More essays, term papers, theses on this topic:

Eternal themes in the lyrics of F. I. Tyutchev and A. A. Fet
But it seems to me that such an assessment is erroneous. IN lyrical works A. S. Pushkin's words accurately express the thought, howl clearly and clearly. Because of this, his ... According to the first words, it is felt that this is not about a boring autumn rain, but about ... And so she rather destroys a person with her skill, That, perhaps, there is no riddle from the ages and she never had. ...

"... And the fatal duel ..." (the theme of love in the lyrics of F. I. Tyutchev)
Early Tyutchev has many such lines. But over time, Tyutchev more and more often encounters a sinful forbidden passion as opposed to a bright one ... Tyutchev's philosophy of love as a fatal, murderous feeling has developed ... All this was reflected in the poems of that time, poured out pain and anger against the crowd. But this pain could not overshadow ...

Chaos and space in Tyutchev's lyrics
After all, if we are talking about the expression in poetry of such philosophical concepts as chaos and space, then it becomes akin to philosophy, but cannot become itself ... If this material intersects with the topics of philosophical problems, then it is already possible ... The content of being is revealed directly through images. Naturally, without the gift of a poet, rhymed lines cannot ...

According to Pisarev's article "Tyutchev's Lyric"
A strange contradiction, isn't it? How to explain this lack of popularity with an undoubted social significance This disproportion of the external ... To all the unanimous reviews of our periodicals about his mind and talent ... I. Aksakov Tyutchev wrote a little, but his name will always remain in the memory of true connoisseurs and lovers of elegant dress ...

Biblical motifs in Tyutchev's lyrics
Indeed, Tyutchev in his work acts not only as a great master of the poetic word, but also as a thinker. In relation to Tyutchev, we ... There is an internal connection in his poetic philosophical contemplations and thoughts, but ... The purpose of my work is to identify and show with examples the biblical motives in the lyrics of F. I. Tyutchev. To achieve ...

The moral meaning of love and the meaning of life
Why do you suddenly begin to feel an acute attraction to another person? Why is this person you want to see, you must see, you cannot but see? And ... The purpose of this control work is: to understand the moral meaning of love and ... Love is a feeling of attachment to the object of love, the need for connection and constant contact with him. ...

Biblical motifs in the lyrics of F.I. Tyutchev
True, it received a peculiar expression and was embodied not in a philosophical work, but in verses full of artistic perfection. Philosophical ... Lately, in connection with the expected end of the world, it has become very fashionable ... The solution of these problems is enlightened by four chapters of my work. Chapter 1. Pages of the life of F. I. Tyutchev The first biographical ...

And when self-knowledge turned for me into the meaning that permeates most of my life, a qualitatively different one began to open up to me - the magical aspect of mastery in any business. This is what, in my opinion, unites the deep meaning of true masters
On the site allrefs.net read: "Valery Ageev, Vladislav Lebedko"

The style of Tyutchev's lyrics and the perfection of artistic images
Each great artist of the word has individual methods of verbal selection, his own syntax, his own philosophy. And so, as we recognize the voice of a friend ... It is difficult to make a mistake in authorship. "What helps us to feel the "familiar"? ... Lyrics not only have their own world of feelings, but also their own language, that is, means that are transmitted from person to person (from ...