Eternal questions of being in lyrics. “Reflections on the meaning of human existence (according to the lyrics of O

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 are darkly intertwined with 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).

The "Golden Grove" is also a concrete 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 the time of silence bright colors but at the same time, it's 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 burning fire of life is expressed through the visible object image: "In the garden, a fire of red mountain ash burns, // 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 is why the 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!”

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

Tyutchev, was quite natural. Fedor Ivanovich, however, became one of the first in poetry who began to comprehend the problems of life in a new way in his work.

In Russian culture in the 1820s there was an increased interest in philosophy. At this time, it began to spread to wide circles of society, going beyond the narrow circles. Although this interest was largely due to the circumstances of the history of Russia, our country at the same time turned out to be quite in line with the cultural processes of Europe that were taking place at that time.

The birth of philosophical poetry in Russian literature

Late 18th - early 19th centuries - the heyday of the big influence on fate European civilization German classical philosophy. In Russia, in the 1820s, poetry began to take shape, which later received the name philosophical. She is characterized not only by an interest in universal, existential problems, which has always been important for literature and which marked, for example, Pushkin's late lyrics. There was a desire to embody scientific philosophical ideas, and sometimes specific philosophical systems, with the help of the word.

Why is Tyutchev considered a poet-philosopher?

It is not so difficult to answer this question. In Russian culture, Tyutchev gained a reputation as a poet-philosopher, because he, perhaps better than anyone else, managed to express in his work the lyrical experience of certain philosophical ideas. At the end of 1820-1830, Tyutchev wrote many famous poems dedicated to these experiences. Philosophical lyrics (poems, a list of which is presented below) were written mainly at this time. These are works such as:

• "Vision".
• "Summer evening".
• "Insomnia".
• "Cicero".
• "Mal'aria".
• "Silentium!" and others.

And later, starting in the 1840s, he wrote most of his most successful love poems. However, a strict thematic classification of his lyrics is hardly possible, since all traditional, "eternal" themes, primarily nature and love, acquire a philosophical meaning from this poet.

Fyodor Ivanovich's attitude to Schelling's philosophy

It is documented and well known that Tyutchev was sympathetic to him. He spoke with him personally in Germany (the photo of this German philosopher is presented above). Its essence was that material world nature and inner world people are similar to each other, we are all closely connected with the universe. Schelling considered nature as a living organism, a creative unconscious-spiritual principle, a system of "potentials" (ascending steps), characterized by polarity, as well as the dynamic unity of opposites. At its core, this teaching was poetic and comforting, asserting that our world is knowable. In this knowledge, moreover, priority was given to art, which acted as a form of comprehending the world with the help of intuition.

Images of day and night

Tyutchev's philosophical lyrics contain cross-cutting images and motifs that are symbolic in nature and constantly return the reader to understanding the problems of being. For example, images of Day and Night are very important. Like any real symbols, they can only be interpreted approximately. - these are poems in which the confrontation between light and dark cannot be understood as a struggle between good and evil. Rather, it is about the comprehensible, logical, rational, controlled by the human mind and will (the beginning of the day in man and in life) - and the incomprehensible, mysterious, which connects people with the cosmic beginning and is completely beyond our will.

"Ancient Chaos"

The night world is terrible and at the same time attractive for the lyrical hero of Tyutchev, since a person is afraid to completely dissolve in it, to disappear. This, in particular, is mentioned in the poem "What are you howling about, night wind ...". In it, the "ancient Chaos" is located not only outside of man, but also in himself. In the world of Fyodor Ivanovich, we "deadly love": Chaos in the sphere of feeling becomes "violent blindness of passions", and man has no power over them.

Assimilation of the human soul of the Universe

The philosophical themes of Tyutchev's lyrics are not limited to those described above. So, for example, in the work "Silentium!" the poet likens the human soul to the universe, to the world. Each of us has its own stars and its own sky. Fedor Ivanovich, in describing the spiritual universe, uses images and colors characteristic of his philosophical "external" world. These are such philosophical motifs in Tyutchev's lyrics as the opposition of night and day, light and darkness, the starry sky and the most favorite moments of transition - evening, morning, sunrise. However, in the poem "Silentium!" these images are not so visibly present in the text. They only shine through somewhere in its depths. long chain associations that grow out of the context of Tyutchev's entire lyrics (both modern to this poem and later) stretches for single word, sparingly selected. Such works as "Insomnia", "Vision", "Summer Evening", "A cheerful day was still noisy ...", etc. have already been written. And these images will still respond, these images will respond in a poem " last love", in which, just as in "Silentium!", the human soul will be likened to the Universe, the world.

Nature and man, of course, are always compared in poetry, including folklore (a technique known as At the same time, nature is usually humanized. However, Tyutchev's philosophical lyrics are an exception, it is often the other way around.

Philosophy and lyrics as ways to comprehend being

Philosophical concepts in lyrics lose their terminological certainty. In the very general view we have described the meaning of Fyodor Ivanovich's symbols of Night and Day, but it can be significantly refined if we consider individual poems by Tyutchev. His philosophical lyrics are so ambiguous that the definition of these symbols can even change. It depends on the context. If, in the proper sense of the word, philosophy is precisely a system that strives for terminological certainty of the most important concepts and consistency of reasoning, then Tyutchev's poems are philosophical lyrics in which there are works that have mutually exclusive meaning.

The mutually exclusive meaning of Tyutchev's poems

For example, in the poem "Not what you think, nature" says that nature has a soul, love, freedom, its own language. And in the work "Nature is a Sphinx" Tyutchev thinks that, perhaps, she has no riddle, and the more likely she destroys a person with her art.

Philosophy is the ultimate generalization of life and mental experience, and lyrics capture only an instant emotional experience, including experience philosophical idea. Apparently, Tyutchev was always occupied with the problems of being, but his resolution of them could be different at different moments of the poet's life. It was precisely because lyricism is an individual experience that it turned out possible for him to rework Schelling's system in his own way (which, on the whole, was optimistic), to give it tragic tones.

So, we have revealed in general terms the topic of interest to us (of course, this is only a general plan). The philosophical lyrics of Tyutchev are worthy of getting to know her better and discovering new interesting details and artistic images.

1. Space and Chaos Theme
2. Nature as part of the whole

Tyutchev is a master of philosophical lyrics

Philosophical lyrics as a genre are always reflections on the meaning of being, on human values, on the place of man and his purpose in life.
We not only find all these characteristics in the work of Fyodor Tyutchev, but, rereading the legacy of the poet, we understand that Tyutchev's philosophical lyrics are the creations of the greatest master: in depth, diversity, psychologism, metaphor. Masters, whose word is weighty and timely, regardless of the century.

Philosophical motives in Tyutchev's lyrics

Whatever philosophical motives sound in Tyutchev's lyrics, they always force the reader, willy-nilly, to listen, and then to think about what the poet writes about. I. Turgenev unmistakably recognized this feature in his time, saying that any poem “began with a thought, but with a thought that, like a fiery point, flared up under the influence of a deep feeling or a strong impression; as a result of this ... it always merges with the image taken from the world of the soul or nature, is imbued with it, and it itself penetrates it inseparably and inseparably.

Space and Chaos Theme

“Inseparably and inseparably” the poet’s world and man, the whole human race and the Universe are interconnected, because Tyutchev’s poems are based on an understanding of the integrity of the world, which is impossible without a struggle of opposites. The motif of space and chaos, the primordial basis of life in general, the manifestation of the duality of the universe, like no other, is significant in his lyrics.

Chaos and light, day and night - Tyutchev reflects on them in his poems, calling the day a "brilliant cover", a friend of "man and the gods", and healing the "soul of the sick", describing the night as exposing the abyss "with its fears and darkness" in human soul. At the same time, in the poem “What are you howling about, night wind?”, referring to the wind, he asks:

Oh, do not sing these terrible songs
About ancient chaos, about dear!
How greedily the world of the night soul
Heeds the story of his beloved!
From the mortal it is torn in the chest,
He longs to merge with the infinite!
Oh, do not wake up the sleeping storms -
Chaos stirs beneath them!

For the poet, chaos is “darling”, beautiful and attractive, because it is a part of the universe, the basis from which light, day, the bright side of the Cosmos appears, turning into dark again - and so on ad infinitum, the transition from one to another is eternal.

But with the new summer - a new cereal
And a different sheet.
And everything that is will be again
And the roses will bloom again
And thorns too, -

we read in the poem "I sit thoughtful and alone ..."

The eternity of the world and the temporality of man

Chaos, abyss, space are eternal. Life, as Tyutchev understands it, is finite, the existence of man on earth is unsteady, and man himself does not always know how and wants to live according to the laws of nature. Speaking in the poem “There is melodiousness in the waves of the sea ...” about complete consonance, order in nature, the lyricist complains that we are aware of our discord with nature only in “illusory freedom”.

Where, how did the discord arise?
And why in the general choir
The soul sings not that, the sea,
And the thinking reed grumbles?

The human soul for Tyutchev is a reflection of the order of the universe, it contains the same light and chaos, the change of day and night, destruction and creation. “The soul would like to be a star… in the pure and invisible ether…”
In the poem “Our Age”, the poet argues that a person strives for light from the blackness of ignorance and misunderstanding, and finding it, “murmurs and rebels”, and so, restless, “he endures the unbearable today ...”

In other lines, he regrets the limit of human knowledge, the impossibility of penetrating into the mystery of the origins of being:

We will soon get tired in the sky, -
And not given insignificant dust
Breathe divine fire

And resigns itself to the fact that nature, the universe moves on in its development impassively and unrestrainedly,

All your children in turn
Performing their feat useless,
She welcomes her
An all-consuming and peaceful abyss.

In a short poem "Thought after thought, wave after wave ..." Tyutchev piercingly conveys the "affinity of nature and spirit, or even their identity" that he perceives:
Thought after thought, wave after wave
Two manifestations of the same element:
Whether in a tight heart, in a boundless sea,
Here - in prison, there - in the open, -
The same eternal surf and rebound,
The same ghost is disturbingly empty.

Nature as part of the whole

Another well-known Russian philosopher Semyon Frank noticed that Tyutchev's poetry permeates the cosmic direction, turning it into philosophy, manifesting itself in it primarily by the generality and eternity of themes. The poet, according to his observations, "directed his attention directly to the eternal, imperishable beginnings of being ... Everything is Tyutchev's subject artistic description not in their individual ... manifestations, but in their common, enduring elemental nature.

Apparently, this is why the examples of philosophical lyrics in Tyutchev's poems attract our attention primarily in landscape art, whether the artist “writes” a rainbow, words in his lines, “noise from a flock of cranes”, a “comprehensive” sea, a “recklessly-madly” impending thunderstorm, "radiant in the heat" river, "half-naked forest" spring day or autumn evening. Whatever it is, it is always a part of the nature of the universe, an integral part of the chain universe-nature-man. Observing in the poem “Look how in the open space of the river ...” the movement of ice floes in the vastness of the river, he states that they are sailing “to the same mete” and sooner or later “everyone - indifferent, like the elements - will merge with the fatal abyss!” The picture of nature evokes reflections on the essence of the “human self”:

Isn't that your meaning?
Isn't that your destiny?

Even, it would seem, in the poem “In the Village”, which is quite simple in essence and perception, describing the usual and nondescript household episode of the dog’s pranks, which “confused the majestic peace” of a flock of geese and ducks, the author sees the non-randomness, conditionality of the event. How to disperse stagnation "in a lazy herd ... it became necessary, for the sake of progress, a sudden fatal onslaught",

So modern manifestations
The meaning is sometimes stupid ... -
... Another, you say, just barks,
And he performs the highest duty -
He, contemplating, develops
Duck and goose sense.

Philosophical sounding of love lyrics

Examples of philosophical lyrics in Tyutchev's poems can be found in any topic of his work: powerful and passionate feelings give rise to the poet philosophical thoughts whatever he was talking about. The motive for recognizing and accepting the impossibly narrow limits of human love, its limitations sounds in love lyrics endlessly. In the "violent blindness of passions, we most certainly destroy what is dear to our heart!" - the poet exclaims in the poem "Oh, how deadly we love ..". And in love, Tyutchev sees the continuation of the confrontation and unity inherent in the cosmos, he speaks about this in "Predestination":

Love, love - says the legend -
The union of the soul with the soul of the native -
Their union, combination,
And their fatal merger,
And ... a fatal duel ...

The duality of love is seen in the work of Tyutchev from the very beginning. An exalted feeling, a “ray of the sun”, an abundance of happiness and tenderness, and at the same time an explosion of passions, suffering, a “fatal passion” that destroys the soul and life - all this is the world of the poet’s love, which he so passionately narrates in the Denisiev cycle, in poems “I remember the golden time ...”, “I met you - and all the past ...”, “Spring” and many others.

The philosophical nature of Tyutchev's lyrics

The philosophical nature of Tyutchev's lyrics is such that it not only affects the reader, but also affects the work of poets and writers completely. different eras: we find the motives of his lyrics in the poems of A. Fet, symbolist poets, in the novels of L. Tolstoy and F. Dostoevsky, the works of A. Akhmatova, O. Mandelstam, I. Bunin and B. Pasternak, I. Brodsky, E. Isaev.

Pushkin's lyrics are inherent in the philosophical depth of thought and feelings. In many poems, the author reflects on life and death, on the meaning of human existence, on the joys and sorrows of life, on attitudes towards them, on creativity (in particular, on poetry), on love.

Pushkin calmly and wisely perceives life, its eternal course and the changes that take place in it. The eternal law of life is a constant flow. This must be understood and accepted.

This topic is revealed by Pushkin in the poem “I visited again ...” It is written in blank verse, which best conveys the atmosphere of a conversation, a confidential conversation with the reader, or rather, a continuation of a conversation once begun. The poem was written in 1835, when the poet again visited Mikhailovskoye, where he once served a link.

Much has changed both in Mikhailovsky and in the life of the poet himself. He is well aware of this. There are a number of images in the work that emphasize the changes that have taken place: “here is a wooded hill”, a lake on which a fisherman swims, villages, some tragic changes - there is no longer a poet's nanny.

In the center of the whole poem is the image of three pines, around which a whole “young grove”, a whole family, has grown. This image the author was created by one of the methods of sound writing - alliteration. "Green family" is a metaphor with which the author emphasizes the idea of ​​the inevitable change of generations. Pushkin welcomes the "younger generation" - "Hello, tribe, young, unfamiliar!". According to the author, each person should leave a certain mark in life, and he has a hope that he will not be forgotten.

Pushkin is an optimist, and therefore in the poem "If life deceives you ..." he gives his life formula, and it is as follows: "What passes, it will be nice ..." This thought emphasizes not only the joy of the eternal renewal of life, but also the confidence that that man is given rebirth in the next generations.

Reflections on life and death are given in the poem "Do I wander along the noisy streets." The intensity of the thoughts of the lyrical hero is already emphasized in the first stanza. The last stanza of the poem is very important - it contains the motive of "indifferent nature" with its "eternal beauty". After the death of an individual, as the author believes, life does not end. Life is eternal, like nature itself.

"The cart of life" - the very name of the poem creates a certain image-symbol. In this work, the author depicts human life as a cart driven by a coachman-time. In an allegorical form, the stages of human life are given, which are revealed with the help of symbols: "morning of life" - youth, "noon" - maturity, "evening" - old age, "overnight" - death.

The poem "Elegy" is one of those works by Pushkin in which the past, present and future are closely connected. Here the theme of youth is rethought, between the lines there is a motive of responsibility for the mistakes that a person makes. However, the poet does not deny the value of these errors, since it is they that constitute our life experience. The lyrical hero does not renounce pleasure, however, its measure in comparison with other aspects of life is small: “... And I know that I will enjoy / Between sorrows, worries and anxieties ...”

Shortly before his death, Pushkin increasingly turns to Christian motives in his philosophical lyrics. From the poem "The Desert Fathers and Immaculate Wives" we learn that the poet is not alien to Christian shrines, that he turns to prayer in difficult times as a means of strengthening the spirit. The poem consists, as it were, of several parts: messages about the desert fathers and their prayers, then about the prayer that the poet especially highlights, and finally, the creative proposal of the text of the prayer itself. This text is built on the opposition of what the lyrical hero would like to give up in his life, to what he would like to learn.

What does the one who says the prayer ask the Almighty for? He wants the Lord to help him get rid of the melancholy and despondency that an idle life entails, so that life would be laborious and meaningful. He wants to conquer in himself "arrogance", that is, love of power, the desire to control other people. It is important for him that "idle talk" disappear from his life. What qualities attract a lyrical hero, what would he like to learn? The answer is simple: to see and recognize your shortcomings, to be patient, humble and chaste.

The division into themes of Pushkin's lyrics is infinitely arbitrary. Obviously, no matter what he writes about, philosophical reflections permeate poems about love, and about creativity, and about freedom.

His thoughts about the world, life, man are deep and often sad. The motifs of hopeless despair, suffering and loneliness do not, of course, exhaust the entire work of the poet, 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 the lyrics, there is often an opposition between “eternal” and “instantaneous”, always resurrecting nature and short human life.

The poet perceives Infinity, Eternity not as a philosophical, speculative concept, but as a reality. In this eternity human is only a short flash. This is paradoxical, but at the same time as the insignificance of individual being, 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 a duality is generally characteristic of a poet. For him, every poetic concept has a wrong side: harmony - chaos, love - death, faith - unbelief. is always between heaven and earth, between day and night, "on the threshold of dual being." The soul is always “a dweller 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 is closer than ever to the border of two different lives. The dream in the perception of the poet is also ambiguous. On the one hand, this is a certain form of existence close to chaos (often in Tyutchev). In one of the poems, Sleep is the twin of Death.

On the other hand, a dream can be both “gracious”, and “magical”, and “childishly beautiful”. Tyutchev's “duality” was clearly manifested in the poem “Dream at the Sea”. He's writing: ... I, sleepy, was betrayed by all the whims of the waves. Two infinities were in me, And they willfully played with me. And in the same poem: On the heights of creation, like God, I walked, And the world beneath me shone motionless. All these images-symbols not only speak of the existence of a person on the border of sleep and reality, peace and storm, but also 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 on the heights of creation." Tyutchev never tired of saying that man is a part of nature, its inseparable particle.

At the same time, especially in the early years, he 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 from the “living life”, the crowd, it lives on its own memories. Although this happens, it is not at all good for the poet. On the contrary, he aspires precisely to “living life” (especially in the early lyrics): No, my passion for you I can not hide, mother earth! If Tyutchev’s early lyrics are characterized by the opposition of the universe and the individual (a huge rock and a tiny grain of sand), then later the poet “descends to the sinful earth”, often not limited to speculative reasoning, but tracing human fate.

A peculiar life philosophy begins to become clear: the more difficult, 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 (beloved woman) lies on her deathbed, and life goes on 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 at times ... All Tyutchev is permeated with the tragedy of a lonely existence, a split soul, disbelief, and often despair. But at the same time, the late Tyutchev more and more often sounds the motive of rebelliousness to fate, a thirst for struggle, outside of which life loses its justification: Take heart, O friends, fight diligently, Though 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. Tyutchev always tried to determine the meaning of being. The older he became (both poetically and humanly), the more often he associated the image of struggle with a person. This text is for private use only 2005 “desperate” battle. 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.

This battle is unequal, “fatal”, but it is inevitable, because, perhaps, only it justifies the life of a person, a tiny grain of the universe.