Analysis of Tyutchev's poem "Leaves". Analysis of Tyutchev's lyric poem "Leaves

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 a 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 a very real background. Fedor Ivanovich met a girl in his youth, and a tender, passionate feeling arose between them. 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. Clotilda is the sister of Fyodor Ivanovich's first wife, 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 with a combination of an ellipsis and an exclamation mark. 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 of the 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.

From early adolescence, the famous and beloved poet Tyutchev Fedor began to build his socio-political career, and at the age of 19 he left for Germany as part of an entire diplomatic mission.

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; most of the poems that made up his fame were published in Pushkin's Contemporary in 1836–1838, but the first critical review of his poetry had to wait until 1850, when Nekrasov “discovered” it, and it suddenly became clear that Tyutchev was an outstanding poet. Recognition came shortly before all interest in poetry began to disappear altogether, and only a few honored Tyutchev at the end of the century, when Solovyov and the Symbolists again raised him to the shield. Today, he is unconditionally recognized as one of the three greatest Russian poets, and probably most readers of poetry rank him, and not Lermontov, second only to Pushkin.

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

Linguistically, Tyutchev is a curious phenomenon. In private and official life, he spoke and wrote only in French. All his letters, all political articles are written in this language, and all his famous witticisms were spoken in it. Neither his first nor his second wife, who were foreigners, spoke Russian. Apparently, he used the Russian language only in poetry. On the other hand, his few French poems are mostly knick-knacks and completely give no idea of ​​what a great poet he was in Russian.

Fedor Ivanovich Tyutchev. video film

Tyutchev's style is more archaic than that of Pushkin and Zhukovsky, and, with the exception of his tutor Raich, the only Russian poets who influenced him are the 18th-century classics Derzhavin and Lomonosov, whose oratorical pressure is easily recognizable in many of Tyutchev's poems. His style reached maturity relatively early, and the few poems published in 1829 already show his main features. From about this time, Tyutchev's poetry is a single whole (not counting his political poems, as well as poems related to "last love") and can be considered outside of any chronological periods. The largest number of his best poems were written in the decade 1830-1840.

Tyutchev's poetry is metaphysical and is built on pantheistic understanding of the universe. As happens with every metaphysical poet, Tyutchev's philosophy cannot be torn from its poetic form without depriving it of any significance. But something can be said about its main features. It is deeply pessimistic and dualistic - even reminiscent of Zoroastrianism or Manichaeism. For Tyutchev, there are two worlds - Chaos and Cosmos. Cosmos is a living organism of Nature, a pulsating individual being, but its reality is secondary and less significant in comparison with Chaos - a real reality in which Cosmos is only a light, random spark of ordered beauty. This dualistic philosophy is articulated clearly, as for a textbook, in his poem " Day and night ».

Tyutchev. Day and night

Contrasting Cosmos and Chaos, symbolized in Day and Night, - the main theme of Tyutchev's poetry. But Cosmos, the plant universe, although its life in the womb of Chaos is fragile, is opposed as the highest and greatest being to the smallness and weakness of individual consciousness. This theme finds its rhetorical expression (strongly reminiscent of Derzhavin's famous paraphrase of the 82nd psalm) in a wonderful poem that begins with the words: " Not what you think, nature ...". (1836). This is one of the most eloquent and concise sermons in verse ever written. Otherwise, it is expressed in many "fragments about nature." Most of them are very short, no more than eight or twelve verses. One of the longest Italian villa(1838), beautiful in its abandonment by people, wrested from man by Nature - and disturbed again by the invasion of man:

…And we entered… everything was so calm!
So everything from the century is peaceful and dark! ..
The fountain murmured... Motionless and slender
The neighbor's cypress looked out the window.

Suddenly everything was confused: convulsive trembling
I ran through the cypress branches;
The fountain fell silent - and some wonderful babble,
As if through a dream, he whispered indistinctly.

What is it, friend? Or an evil life for good reason,
That life, alas! - what flowed in us then,
That evil life, with its rebellious heat,
Did you cross the cherished threshold?

Two elements of Tyutchev's style, rhetorical and classical, on the one hand, and romantic-figurative, on the other, are mixed in his poems in various proportions. Sometimes romantic, saturated with bold visionary images, gets almost full freedom. This is what happens in a marvelous poem. Dream on the sea(1836), which is incomparable to anything in Russian in its wild beauty, similar to Coleridge's best poems in richness and purity of romantic vision. But even here, the accuracy of bizarre and feverish images is reminiscent of the classical school passed by Tyutchev.

In other poems, the classical, oratory, mental element predominates, as in the already mentioned Not what you think, nature and in the most famous, probably of all Silentium(1833), which begins with the words:

Be silent, hide and hide
And your thoughts and dreams;

and includes the famous line:

Thought spoken is a lie.

In such verses, the romantic vision is recognizable only by the richness and brilliance of certain expressions and by artistic sound writing. Tyutchev's love lyrics of the era of connection with Denisyeva are as beautiful as his philosophical poems and poems about nature, but there is more poignancy and passion in it. This is the most profound, subtle and touching tragic love poetry in Russian. Her main motive is painful compassion for a woman who was ruined by an overwhelming love for him. The poems written after her death are simpler and more direct than anything he wrote before. These are cries of anguish and despair in all their poetic simplicity.

Tyutchev's political poetry and his poems "in case", which make up about half of his collected works, are lower in quality than the other half. They do not show the highest features of his genius, but some are brilliant examples of poetic eloquence, while others are equally brilliant examples of poetic wit. An early poem about the capture of Warsaw is comparable to Pushkin's in its nobility and complexity of political feelings. Napoleon, and the poem For the new year 1855 reads like a terrible and majestic prophecy. Most of the later political poems (after 1848) are nationalist and conservative in spirit, and many (especially after 1863, when Tyutchev began to write more than before) are little more than rhymed journalism. But even this crude ideology did not prevent him from creating such a masterpiece as On the arrival of the Archduke of Austria for the funeral of Nicholas I- a brilliant lyrical invective, powerful poetry inspired by indignation.

Tyutchev was famous for his wit, but his prose epigrams were in French, and he rarely managed to combine his wit with the art of Russian versification. But he left a few masterpieces written in a more serious frame of mind, such as this poem about a Lutheran church service (1834):

I love worship, Lutherans
Their rite is strict, important and simple -
These bare walls, this temple is empty
I understand high learning.

Don't you see? Gathered on the road
For the last time you will have faith:
She hasn't crossed the threshold yet.
But her house is already empty and worthless.

She hasn't crossed the threshold yet.
The door hasn't closed behind her yet...
But the hour has come, it has struck... Pray to God,
The last time you pray is now.

Tyutchev Fedor Ivanovich

Fyodor Ivanovich TYUTCHEV (1803-1873)

Tyutchev has an extraordinary literary destiny. By age, he belongs to the generation of Pushkin and began to write quite early, but he really entered the Russian literary process only in the fifties. In 1821, after graduating from Moscow University as an employee of a diplomatic mission, he left for Germany and returned to Russia only in 1844. In Germany, he matured, started a family, his children were born there, there he experienced the tragedy of the death of his wife and married a second time, there he became close to Heinrich Heine and the famous philosopher Friedrich Schelling, in fact, there he became a poet. And although Tyutchev's poems appeared in Russian magazines and almanacs (Galatea, Dennitsa), and in 1836 a large selection of his poems was published in Pushkin's Sovremennik, although Vyazemsky and Zhukovsky highly appreciated Tyutchev, he turned out to be an unknown poet to the public . And only when in 1850 Nekrasov's article "Russian Minor Poets" appeared in Sovremennik, in which he speaks of Tyutchev's extraordinary talent and puts him on a par with Pushkin and Lermontov, does the era of not even fame begin - Tyutchev's celebrity. Turgenev, Fet, Ap. write about him. Grigoriev, Dobrolyubov. Critic I.S. Aksakov in 1874 wrote a large monographic work about him, in which he called him an original thinker, a kind of poet, the bearer and engine of Russian national identity.

(Noon. Spring waters. Silentium. Autumn evening. "What are you howling about, night wind? ..". how deadly we love..." "She was sitting on the floor..." "All day long she lay in oblivion...").

All of Tyutchev's artistic legacy is poetry. In a small lyrical poem, he found a form in which he could express his world with the greatest completeness. Throughout his life, he wrote essentially about one thing - about nature and man in relation to nature, and it can be reasonably considered that all of Tyutchev's work is a single text.

The originality of Tyutchev's understanding of nature is especially evident when we compare his poems with the landscape lyrics of Pushkin, Nekrasov, Fet. Nature for Tyutchev is not just flowers and trees, animals and birds, streams and forests that he depicts and admires, they are always details and signs of an integral world; the word "nature" for him means "world", "cosmos", "cosmos". Tyutchev can speak directly about this integrity (“How the ocean embraces the globe of the earth ...”), or he can create an image of a single world, as in “Spring Thunderstorm”, when

And the noise of the forest, and the noise of the mountains

Everything echoes cheerfully thunders. -

The last stanza mythologically explains the phenomenon of a thunderstorm, connecting heaven and earth:

windy Hebe,

Feeding Zeus' eagle

A thundering cup from the sky

Laughing, she spilled it on the ground.

In "Noon" "all nature" is united by the state of a half-day "hot slumber", in "Spring Waters" the waters "speak to all ends", etc.

Tyutchev's lyrics are usually called philosophical: pictures of nature evoke deep and intense thoughts about life and death, the universe and humanity, about the "dark root of being" (Vl. Solovyov). Tyutchev's image is merged with thought, and thought is always saturated with a strong and passionate experience. The philosophical idea of ​​Tyutchev is always an artistic, that is, figurative, idea.

And one more, very important side in Tyutchev's understanding of nature - it is spiritualized, endowed with a soul and consciousness. The animation of nature in poetry is quite common, we will find metaphors and personifications in any poet. Tyutchev has a different character. The image of nature as a living being for him is not poetic liberty, but truth. Nature has the ability not only to feel and move (spring thunder rumbles, “as if frolicking and playing”, spring waters “run, and shine, and say ...”, May days “crowd merrily”), but also to higher spiritual manifestations that are possible only for a complex and developed psyche - in the autumn evening everything is

That gentle smile of fading,

What in a rational being do we call

Divine bashfulness of suffering!

Nature and man are related to each other. In the poem "As the ocean embraces the globe of the earth..." the majestic and mysterious movement of the night world takes a person "into the immensity of dark waves." “The voice of the“ elements ”- its“ sonorous waves ”- are addressed to a person: “That is her voice: he forces us and asks ...”. In one of Tyutchev's most famous program poems, Silentium! (“Silence!”) “spiritual depth” is likened to a universe where feelings and dreams move like “stars in the night.” Man and the universe have one source - "ancient chaos", an endless abyss from which everything was born and into which everything will go, "when the last hour of nature strikes." The memory of "native chaos" lives in the night, and this is the common torment of the world and man ("What are you howling about, night wind?"). "Torment" - because the feeling is incomprehensible, unconscious, not amenable to explanation of the mind, but strong, "violent", understandable to the heart. But within this community (both the world and man have a "day", light and reasonable, and "night", irrational and gloomy, essence-soul) there is a tragic contradiction between nature, embodying the general, harmonious, boundless, and man, with his limb and fragility. The experience of the brevity of human existence, the limitations of its capabilities is the most common motif of romanticism, but not a single Russian poet brought the sharpness of this feeling to such a maximum of tragedy as Tyutchev. Human life for Tyutchev is always on the verge of extinction, non-existence: “Everything is without a trace - and it’s so easy not to be!”, and this fragility is associated with the isolation of his "I" from the rest of the world, non-involvement in life "divine-universal". The salvation of man is in connection with the world. "He longs to merge with the infinite", says the poem "What are you howling about, night wind". Achieving this fusion is the theme of the poem "The gray-gray shadows mingled..." The first stanza of the poem depicts a kind of middle world, a world of transition, in which the contradictions between day and night are removed:

Shades of gray mixed,

The color faded, the sound fell asleep -

Life, movement resolved

In the unsteady dusk, in the distant rumble...

The state of confluence of contradictions leads to their destruction between man and the world:

Everything is in me, and I am in everything!

But strangely, notes a modern literary critic, this communion of universal life does not cause jubilation, but is defined as "an hour of inexpressible longing." The meaning of this line is deciphered in the second stanza. It is not about the expansion of individual human existence in world life, but about the complete destruction of personality in the impersonal world:

Let me taste destruction

Mix with the dormant world!

And Tyutchev needs the oxymoron combination "taste destruction" to express the insolubility of opposite feelings - "thirst to merge" and the horror of death.

Man is tragically separated from universal life, but also from the existence of other people. This is one of the Silentium!

How can the heart express itself?

How can someone else understand you?

Will he understand how you live?

Thought spoken is a lie.

Exploding, disturb the keys, -

Eat them - and be silent.

In six verses of this stanza, five words are highlighted that are associated with language, with its function of speaking - perception. For romanticism, the concept of language is one of the fundamental ones (remember Zhukovsky's "The Inexpressible", where "our earthly language" and the language of nature turn out to be the main principles of opposition). Language is the maximum expression of appeal to others. The demand for silence, set already in the title by an unusual (moreover, Latin) and therefore strong form of an exclamatory nominal sentence and urgently sounding at the end of each stanza, dooms a person to existence in the isolation of his world.

Tyutchev sees overcoming the tracelessness of human existence in the involvement of a person in the great and tragic events of the time. This theme, sounding in the poem "Cicero", is directly related to the theme of the world and being, the main one for Tyutchev. No wonder the image of a storm arises, time is represented by the image of the night, and the end of “Roman glory” is likened to the sunset of a star: A Roman orator spoke Amid civil storms and anxiety: “I got up late - and on the road I was caught at night in Rome!” So! .. But, saying goodbye to Roman glory, From the Capitoline heights In all the greatness you saw the Sunset of her bloody star! ..

And just as the natural world is measured by the intensity of life, its “abundance” (the maximum expression of this is a thunderstorm), so the life of a person is evaluated by the intensity of his existence in the “storms” of history, which gives him immortality.

Blessed is he who has visited this world

In his fatal moments!

He was called by all the good

Like an interlocutor at a feast.

He is a spectator of their high spectacles,

He was admitted to their council -

And alive, like a celestial,

I drank immortality from their cup!

The whole stanza is permeated with the meanings of human participation in the life of the world, the joint action of man and the gods: the images of the world are “feast”, “spectacle”, “council”; a person, a visitor to “this world”, is an “interlocutor”, “spectator”, “admitted”. The equality of celestials and man is affirmed both by direct comparison (“alive, like a celestial”), and by a subtle roll call of the same-root words (“blessed” - “all-good”).

In the 1850s and 1860s, love became the most important topic for Tyutchev. His love lyrics are one of the embodiments of the central theme of the universe. As the image of the world is built on antitheses, so in love the opposite forces of creation and destruction are revealed, it brings happiness and suffering to a person, it is “both bliss and hopelessness”. In love, the fullness of life is manifested most strongly, but in love there is also an inclination towards death. Love and suicide for Tyutchev are "twins". Love is the maximum closeness of people, "the union of the soul with the soul of one's own" - and an unequal struggle, "union", "combination", "fusion" - and "fateful duel". Here (in the poem "Predestination") Tyutchev, as it were, strings synonyms one after another, so that the word of the opposite meaning sounds the stronger. In another case, the contradiction is expressed with the help of an oxymoron: "Oh, how deadly we love ..."

One of the remarkable researchers of Russian literature G.A. Gukovsky wrote that Tyutchev's love lyrics tend to unite into a kind of novel, close in character and plot to a prose novel of the same time. This refers to the so-called "Denisiev cycle", the biographical basis of which is the love story of the already aging Tyutchev for Elena Aleksandrovna Denisyeva, a young girl, a pupil of the Smolny Institute, where Tyutchev's daughters studied. It was a deep, serious and passionate feeling, time-tested (their relationship lasted 14 years, during which time they had three children). The whole burden of public condemnation for the "scandalously" open connection fell on Deniseva: her father refused her, social acquaintances did not accept her, the children were considered "illegal" - all this accelerated the course of the disease (she developed consumption), and in August 1864 she died . Tyutchev never found peace after the death, in which he considered himself guilty.

In the "Denisiev cycle" new features appear for Russian love lyrics. This is the role of a woman who ceases to be a simple object of love experience, but becomes a full-fledged participant in love, this is an unusually developed psychologism and dialectics of the characters' feelings, no less complex than in the novels of Turgenev and Dostoevsky. Another such unusual feature for traditional lyrics appears as attention to the external - pose, gesture, details of the portrait: “She was sitting on the floor / And sorting through a pile of letters ...”, “All day she lay in oblivion, / And shadows covered her all”. But no matter how attentive Tyutchev is to the external, it is always given as high and significant, always connected with the inner, spiritual life. Character parsing letters “... it was wonderful how she looked at them - / As souls look from a height / At their abandoned body ...”.

The style of the poet, that is, the features of his poetic word: vocabulary, the nature of epithets, metaphors and comparisons, syntactic features and features of size and rhythm - all this is an expression of the content of his poetry. We have already talked about the meaning of antitheses and oxymorons for designating opposing forces acting in the life of the world and man. We note only a few, the most noticeable and characteristic of Tyutchev's stylistic elements.

We notice the expression of polarity in Tyutchev’s vocabulary and in the peculiarities of its intonation - on the one hand, a lot of archaisms (boat, sail, neck, cheeks, this, this, sanctuary, thought uttered, etc.), on the other hand, next to this solemn vocabulary more everyday colloquial, "non-poetic" words and expressions than any other poet of his time.

Oratorical intonation is extremely characteristic of Tyutchev (this poet who wrote "Silentium" is a passionate speaker!), And it finds expression both in the solemnity of archaisms and in the famous Tyutchev two-root epithets ("loud-boiling goblet", "all-crushing stream"), reminiscent of Derzhavin and the 18th century, and in constant appeals, reinforced by an exclamatory or interrogative form (“What are you howling about, night wind?”, “O my prophetic soul! O heart full of anxiety!”), And in forms of imperative mood (in “Silentium ", in which there are only 18 poetic lines, there are 10 such forms).

We have already spoken about the role of metaphors and personifications: it cannot but be significant for a poet who creates an image of living and spiritualized nature. But another trope - the epithet - occupies an equally prominent place in his poetry. Tyutchev's epithets are diverse and multifunctional. Often they strike with surprise, unpredictability. “Misty noon breathes lazily...” - in order to see a sunny summer noon “hazy”, you need special visual acuity and special accuracy of transmission. Usually for Tyutchev, the "stringing" of epithets that create a complex and voluminous image of the subject. The twilight in the poem "Grey-gray shadows mingled ..." is called "quiet", "sleepy", "languid", "fragrant", "unsteady". The desire for accuracy and at the same time to strengthen the feature gives rise to extremely typical for Tyutchev double epithets connected by a hyphen, such as "mysterious magical thoughts" in Silentium! or "sadly orphaned land" in "Autumn Evening".

This very short and incomplete review of the stylistic elements of Tyutchev's poetry still allows us to understand how rich and complex his poetic world is.