Tyutchev poetry analysis. Analysis of Tyutchev's poem "Poetry

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

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

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

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

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

The image of the beloved who inspired the poet in the poem is implicit, blurred. Only a feeling of admiration and gratitude is captured, permeating the entire work.
The poem is distinguished by a rich sound organization built on contrast. The alliteration (s-s, d-t, b-p) and assonance (o, a, e) used in the work convey the subtlest movements and impulses of the human soul, reflecting all the tenderness, awe and depth of the poet's feelings.

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

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

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

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

• Analysis of the poem by F.I. Tyutchev "Silentium!"
• "Autumn Evening", analysis of Tyutchev's poem
• "Spring Thunderstorm", analysis of Tyutchev's poem

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The poem is devoted to the theme of the divine origin of poetic talent. It is built on the contrast of dynamic and static images.

The first lines of the work paint a formidable picture of seething passions that disturb the human soul. The artistic effect of the created image is enhanced by lexical repetition ( "Among the thunders, among the fires, Among the seething passions").

The artistic space of the work is characterized by the accentuation of vertical coordinates: heaven and earth. poetry "from heaven flies to us - heavenly to earthly sons".
Static images of the poem ( "azure clarity in the gaze", "conciliatory oil") associated with poetry. Thus, poetry brings harmonic clarity to the human world of passions, calms this raging sea.

In a poem, it is important to show the full significance of the problems that poetry solves in our life. Behind judgments about poetry, the rebellious soul of the lyrical hero is revealed.

If this material does not have information about the author or source, then it was simply copied on the Internet from other sites and presented in the collection for information only. In this case, the lack of authorship suggests accepting what is written as just someone's opinion, and not as the ultimate truth. People write a lot, make a lot of mistakes - this is natural.

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

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

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

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

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

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

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

Snow is still whitening in the fields,
And the waters are already rustling in the spring -
They run and wake up the sleepy shore,
They run and shine and say...

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

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

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

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

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

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

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

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

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

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

Not what you think, nature:
Not a cast, not a soulless face -
It has a soul, it has freedom,
It has love, it has a language...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Witchcraft explains the poet and the beauty of sunny summer days (“Summer 1854”):

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The same meaning and the same ideal meanings are also contained in the epithet "rainbow" or synonymous with it "fiery". They mean the absolute fusion of earth and sky, sun and earthly nature.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“A cheerful day was still noisy ...” Fyodor Tyutchev

Still noisy fun day
The street shone with crowds,
And the shadows of the evening clouds
It flew over the light roofs.

And sometimes they came
All the sounds of a blessed life -
And everything merged into one system,
Hundred-sounding, noisy and indistinct.

Tired of spring bliss,
I fell into involuntary oblivion;
I don't know how long the dream was
But the awakening was strange ...

Silence everywhere noise and din
And silence reigned -
There were shadows on the walls
And half-asleep flickering...

sneak into my window
The pale light looked
And it seemed to me that it
My drowsiness was guarded.

And it seemed to me that I
Some kind of peace genius
From a lush golden day
Carried away, invisible, into the realm of shadows.

Analysis of Tyutchev's poem "A cheerful day was still noisy ..."

An early Tyutchev creation, presumably dating from the late 1930s. 19th century, was published two decades later in Moskvityanin. Three autographs of the poem are known, and in the last edition, the poet abandoned the original title - "Awakening", focusing on the emotional state of the hero, who is immersed in the shimmering world of night shadows.

The compositional basis of the work was the opposition of day and night, classical for Tyutchev's poetics. It is devoid of drama inherent in the author's interpretation of natural-philosophical ideas, and this circumstance is an essential feature of the semantic content of the text. The specified sign allows us to separate “It was still noisy ...” from those examples from the body of “night lyrics”, where the dark abyss, embodying chaotic forces, shocks and frightens the subject of speech.

The poem contrasts the impressions of the hero, generated by the end of a fine day and the night that replaced the spring evening. The first quatrains reproduce a lively picture of city life: its dominant feature is the acoustic image of indistinct noise, into which various sounds merge. The image symbolizes a multifaceted life, characterized by the lexeme "gracious" - an evaluative epithet with positive semantics. The uniform rumble has a calming effect on the hero-observer, plunging him into a slumber.

The pause in the lyrical narration, caused by the dream, serves as a technique that emphasizes the contrast between day and night sketches. The subject of speech, waking up from sleep, characterizes his condition with the adverb "strange". The assessment is illustrated by a number of antithetical pairs: the noise was replaced by silence, the “magnificent-golden” daytime brilliance - a mysterious “realm of shadows”, dominated by twilight and unsteady dim light.

An unusual sight fascinates the awakened one: he follows the moving silhouettes and the dim “half-asleep” brilliance of the night lights. A special mention is given to the pale moon. The main images that make up the mysterious landscape are personified: it seems to the observer that the night star is stealthily spying on him, and shadows and reflections are endowed with the ability to move.

The various impressions caused by the rapid change of the time of day are summed up in the end. The appearance of contrasting episodes, witnessed by the subject of speech, is explained by the will of an unearthly force - a good genius, endowed with a pacifying, calming gift.

He was a follower of the German idealist philosopher Schelling, who understood nature as a natural unity of opposites. This concept found many admirers among young romantic poets not only in Europe, but also in our country. To what extent the poet's worldview was reflected in his immortal creations, it will help to evaluate the analysis of Tyutchev's lyrical poem "Leaves".

paramount poet

Tyutchev left for Germany as a diplomat in 1821, where he met his idols Schelling and Heine, married Eleanor Peterson and continued to write poetry, which he had been passionate about since adolescence. From abroad, the poet sent, at the insistence of Alexander Sergeevich Pushkin, lyrical works to Russia and gained some fame here. Among the creations of this period was Tyutchev's poem "Leaves". After the death of Pushkin, the lyrics of Fedor Ivanovich were no longer published in Russia. N. Nekrasov in his article “Russian Minor Poets” resolutely stated that he attributed the writer’s gift to the primary poetic talents, which, by chance, turned out to be among the little-known Russian readers, and put Tyutchev on a par with the famous Russian poets Pushkin and Lermontov.

Let's start the study of the lyric work

Tyutchev's “Leaves” is seen by us as follows: we define the theme and idea of ​​​​the work. We evaluate the composition. We also consider the means of figurative expression, sum up.

Analysis of Tyutchev's poem "Leaves": theme and composition

Ivan Sergeevich Turgenev called Fyodor Tyutchev a poet of thought merged with feeling. He also emphasized another feature of the poetry of the master of the word: the psychological accuracy of his lyrics and passion as its main motive. In the poem "Leaves" Tyutchev matches the analysis of spiritual movements with the picture of fading nature. The composition is based on parallelism: the external world (landscape) and the inner sphere of human aspirations are compared. It is obvious that the theme of the poem is the opposition of violent and vivid feelings to cold calmness. How is this done?

In the first stanza of the poem, we are presented with a picture of motionless, coniferous evergreen trees, as if frozen in eternal peace. In the second stanza, in contrast to winter immobility, a sketch of a bright short summer appears. The poet uses the technique of personification: he speaks from the face of leaves on deciduous trees. The third stanza represents the autumn time of slow cooling and extinction of nature. The fourth stanza is imbued with a passionate plea: the leaves ask the wind to pluck and take them away with them in order to avoid withering and death.

The idea of ​​a lyric

The autumn landscape, when you can watch the foliage swirling in the wind, the poet turns into an emotional monologue, permeated with the philosophical idea that slow invisible decay, destruction, death without a brave and daring take-off is unacceptable, terrible, deeply tragic. Let's see how the poet does it.

Artistic techniques

Tyutchev expressively uses the antithesis. Pines and spruces appear in a state of winter dead hibernation even in summer, since they are not subject to any changes. Their "skinny greenery" (let's pay attention to the epithet!) is contrasted with the juicy foliage of summer, shining in the sun's rays and dew. The feeling of soulless static coniferous trees is enhanced by the emotional comparison of their needles with hedgehogs. The greenery, which “does not turn yellow forever, but is not fresh forever,” is something akin to a lifeless mummy. In the author's view, coniferous specimens of flora do not even grow, but “stick out”, as if they are not fed through the roots by the juices of the earth, but someone has mechanically stuck, like needles, into the ground. So the poet deprives them of even a hint of life and movement.

On the contrary, they are presented in continuous dynamics, play of light and shadow. The poet uses personification and metaphors: leaves are a “tribe” that “stays” on branches “in beauty”, “plays with rays”, “baths in dew”. When describing coniferous trees, the word "forever" is used, it is opposed by the phrase "short time", referring to deciduous trees. In contrast to the reduced vocabulary, which is represented by protruding spruces and pines, the author appeals to the high style: "marshmallows", "red summer", "light tribe", speaking of quivering foliage.

Morphological and phonetic analysis of Tyutchev's poem "Leaves"

The first stanza, showing an unsightly picture of pines and firs frozen in the cold, contains only three verbs used in the present tense. This emphasizes static. The sound writing of the first stanza is distinguished by the obsessive presence of whistling and hissing consonants. In the second stanza, drawing leaves in summer, there are twice as many verbs - there are six of them, and they are used in the present and past tense, which enhances the feeling of continuous movement, a short but full life. In contrast to the alliteration of hissing and whistling in the previous stanza, sonorous sounds predominate here: l-m-r. This conveys the state of harmony inherent in an inspired and full-blooded life.

The third stanza offers verbs in the past tense and indefinite form. We are talking about approaching death, withering. The mood of anxiety and hopelessness creates an abundance of deaf consonant phonemes. The last stanza is full of desperate plea, it sounds like a spell, like a groan of leaves calling to the wind. It contains many exclamations and verbs of the future tense. In the sound writing, drawling vowels are clearly audible - o-u-e, which, in alliance with the consonants "s" and "t", betray the gusty whistle of the wind.

Aesthetic creed of the poet

An analysis of Tyutchev's poem "Leaves" helped to understand that this is not only an elegant example of landscape lyrics and a brilliant attempt to transform a picture of nature into emotional experiences. Before us is a capacious philosophical formula, according to which being and eternity only make sense when every moment is filled with fleeting, burning and quivering beauty.